FROM    THE   LIBRARY   OF 

REV.   LOUIS    FITZGERALD    BENSON.   D.  D. 

BEQUEATHED    BY   HIM   TO 

THE  LIBRARY  OF 

PRINCETON  THEOLOGICAL  SEMINARY 


ers'  JVeekly.  [No.  1854]  Aug.  10,  1907 


COMMUNICATIONS. 

THL-    .AUTHORSHIP    OF   -DIXIE." 

To   the  Editor  of   The  Publishers'    Weekly. 

Dear  Sir  :  T  notice  on  page  309  a  notice  of 
tlie  death  of  Will  S.  Hays,  also  a  notice  of 
his  claim  to  the  authorship  of  "Dixie."'  The 
original  "Dixie,"  words  and  music,  as  it  is 
now  known  the  world  over,  was  written  by- 
Dan  Emmett.  and  arranged  for  the  piano,  here 
in  New  York.  Six  months  before  the  words 
claimed  by  Hays  were  published  I  heard  the 
music  in  the  winter  of  i860.  ']"he  song  was 
published  in  June,  (I  think,)  of  1861  by  W. 
A..  Pond  &  Co.,  and  the  same  music  was  after- 
ivards  set  to  other  words  by  Fanny  J.  Crosby, 
f  think  about  1864  I  cannot  recall  the  first 
itanza,  but  there  was  something  about  "Hear 
^■ort  Moultrie's  cannon  rattle,"  "Look  away," 
!tc.  I  never  heard  that  Hays  ever  made  a 
•laim  as  author  or  composer  till  within  a  few 
nonlhs.  Hays  ought  to  be  satisfied  with  the 
rlory  of  "Mollie  Darling,"  which  is  altogether 
n  his  line  and  style.  H.   P.   Main. 

Xew   York,    Aug.    5,    1907. 


DANIEL  DECATUR  EMMETT 

AUTHOR  OF  "DIXIE" 


^P^J^'I^- Jl*^ 


DANIEL    DECATUR     EMMETT 


AUTHOR  OF  "DIXIE" 


By  ^" 

CHARLES  BURLEIGH   GALBREATH 


I  llustrated 


Columbus,  Ohio: 

Press  of  Fred.  J.  Heer 

MCMIV 


copyright  1904 
By  Chari^es  Buri^eigh  Gai,breath 


to  my  mother 
Jane  Minerva  Galbreath 


TABLE  OF  CONTENTS. 

PA«X 

Introduction    3 

Daniel  Decatur  Emmett 7 

Authorship  of  "Dixie" 31 

Other   Dixie    Songs 37 

Selections  That  Have  Appeared  in  Print : .  41 

Manuscript  Papers  46 

"Genius  and  Philosopher" 60 

Appendix  —  List   of   Walk-Arounds 63 

Index  65 


ILLUSTRATIONS. 


PACK 

Daniel  Decatur  Emmett  (From  photograph  taken  when  he  was  sing- 
ing Dixie's  Land   with   the   Bryant   Minstrels 5 

The  Original  Virginia  Minstrels 11 

From  Autograph  Copy  of  Original  "Dixie's  Land" 16 

Daniel  D.  Emmett  (From  late  photograph) 22 

Daniel  D.  Emmett  (From  late  pen  sketch) 23 

Title  Page  of  "Dixie"  as  Originally    Published 34 

Daniel  Decatur  Emmett   (Earliest  portrait) Opposite  34 

Daniel  Decatur  Emmett  (At  the  age  of  eighty  years) Opposite  34 

Daniel  Decatur  Emmett  at  Home  (From  latest  photo.) .  ..  .Opposite  50 


INTRODUCTION. 


If  a  man  were  permitted  to  make  all  the  ballads,  he  need  not  care 
who  should  make  the  laws  of  a  nation.  —  Andrew   Fletcher. 

No  names  arc  deathless  save  those  of  the  world's  singers.  —  Frances 

E.    WlLLARD. 

If  this  ascription  of  power  and  immortality  seems  somewhat 
sweeping  and  a  Httle  too  poetically  generous,  the  fact  remains 
that  music,  affecting  as  it  does  the  emotional  in  man  and  touch- 
ing all  its  keys,  exerts  a  distinct  influence  on  individual  and 
national  destiny ;  and  the  simple  songs  that  find  their  way  to  the 
universal  heart  shall  survive  long  after  the  singer  has  departed 
and  his  very  name,  to  the  millions  who  have  felt  the  spell  of  his 
genius,  has  ceased  to  be  even  a  memory.  The  popular  melody 
is  one  of  the  avenues  through  which  the  human  soul  finds  ex- 
pression. If  it  has  its  charm  "to  soothe  the  savage  breast,"  it 
has  likewise  its  stimulus  to  action.  With  paeans  on  their  lips 
men  "have  crowded  the  road  to  death  as  to  a  festival."  In  our 
annals  the  song  writers  deserve  a  place.  From  lullaby  to  bat- 
tle hymn  they  help  to  mould  character  and  build  the  state. 

Among  the  bards  of  Ohio  whose  lays  have  acquired  national 
celebrity  is  Daniel  Decatur  Enimett,  author  of  Dixie.  His  was 
a  varied  life  experience  that  took  him  to  many  places  and 
brought  him  into  contact  with  many  people.  A  detailed  auto- 
biography, including  his  reminiscences  of  men  and  events,  would 
have  been  decidedly  interesting  and  not  without  historic  value. 
He  departed  without  leaving  such  a  record,  however,  and  it  is 
left  for  one  who  knew  him  in  his  later  years  to  bring  a  humble 
but  truthful  tribute  to  this  neglected  son  of  song,  to  associate 
more  closely  the  name  of  Emmett  with  Dixie,  to  fix  for  all  time 
his  title  to  the  authorship  of  this  famous  melody. 

It  has  had  an  interesting  history.  It  was  on  the  lips  of 
the  Southern  legions  as  they  marched  to  the  field.  It  was  the 
battle  cry  of  Pickett's  men  when  they  charged  at  Gettysburg; 
the  peace  offering  of  Lincoln  at  the  dawn  of  national  reunion ; 
the  air  to  which  the  boys  in  blue  kept  step  as  they  bore  arms 

(3) 


4  Introduction. 

for  the  liberation  of  Cuba.     It  survives  the  cause  that  went  down 
in  the  cataclysm  of  civil  war. 

It  has  in  it  an  "indefinable  something"  that  defies  the  critics 
and  stirs  men's  souls.  To-day  when  delegates  assemble  "to 
mould  a  state's  decrees"  and  nominate  men  to  administer  the 
affairs  of  the  Republic,  Dixie  is  cheered  to  the  echo.  While  the 
author  lived,  the  echo  that  reached  him  was  faint  and  far.  This 
little  book  will  have  served  its  chief  purpose  if  that  echo  in 
larger  volume  shall  find  his  grave  and  keep  his  memory  green. 

In  the  preparation  of  this  work  the  writer  has  been  under 
obligation,  first  of  all,  to  Rev.  William  E.  Hull,  rector  of  St. 
Paul's,  Mt.  Vernon,  Ohio,  who  has  had  custody  of  the  manu- 
script papers  of  Emmett.  He  has  kindly  made  these  accessible 
for  examination  and  use.  Without  his  aid,  the  work  in  its 
present  form  would  not  have  been  possible.  The  many  courtesies 
of  Mrs.  Emmett  are  gratefully  remembered.  Valuable  assistance 
has  been  received  from  J.  C.  Scott  and  Wm.  M.  Koons,  Esq., 
of  Mt.  Vernon,  Ohio ;  Al.  G.  Fields,  of  Columbus,  Ohio,  and 
Col.  Allston  Brown,  of  New  York  City.  The  files  of  The  Demo- 
cratic Banner  and  The  Republican  Nezvs,  of  Mt.  Vernon,  Ohio, 
have  frequently  been  consulted.  The  Library  of  Congress  has 
furnished  valuable  information  in  regard  to  the  authorship  of 
Dixie. 

A  portion  of  this  work  was  first  published  in  the  Quarterly 
of  the  Ohio  Archseological  and  Historical  Society.  For  the 
privilege  of  reproducing  the  material  thus  used,  the  writer  is 
under  obligations  to  the  Society  and  especially  to  its  scholarly 
and  courteous  secretary,  Hon.  E.  O.  Randall. 

C.  B.  G. 

Columbus,  Ohio,  December,  1904. 


DANIEL  DECATUR  EMMETT. 

From  a  photograph  taken  when  he  was  singing  Dixie's  Land 
with  the  Bryan    Minstrels.) 


DANIEL  DECATUR  EMMETT,  AUTHOR  OF  "DIXIE." 

About  one  mile  north  of  Mt.  Vernon,  Ohio,  a  line  of  cot- 
tages extends  along  the  western  border  of  the  road.  The  last, 
the  humblest,  and  the  whitest  of  these  was  until  recently  the  home 
of  Daniel  Decatur  Emmett,  the  venerable  minstrel,  whose  melo- 
dies are  a  part  of  the  universal  music  of  America  and  familiar 
in  lands  beyond  the  sea.  Under  the  "wide  and  open  sky,"  in 
the  midst  of  the  scenes  of  his  boyhood,  this  genial  genius  of 
song,  whom  neither  the  smiles  nor  the  frowns  of  fortune  could 
sway  far  from  the  even  tenor  of  his  way,  lived  to  the  ripe  age 
of  four  score  years  and  eight.  He  was  born  in  Mt.  Vernon,^ 
October  29,  18 15. 

His  ancestors,  as  the  name  indicates,  were  of  Irish  descent. 
They  were  among  the  pioneers  of  Virginia  who  pushed  west- 
ward across  the  Blue  Ridge  Mountains  and  settled  in  the  beau- 
tiful valley  just  beyond.  In  the  early  part  of  the  last  century, 
led  by  the  restless  spirit  that  ever  beckons  onward  the  advance 
guard  of  civilization,  they  crossed  the  Alleghanies,  and,  follow- 
ing the  course  of  empire,  entered  the  new  state  of  Ohio  by  way 
of  Wheeling. 

Emmett's  grandfather-  was  a  soldier  of  the  Revolution  and 
fought  under  Morgan  at  the  Cowpens.  His  father,  Abraham 
Emmett,  who  came  from  Staunton,  Va.,  was  early  apprenticed  to 
a  blacksmith.  At  the  breaking  out  of  the  War  of  181 2,  his  em- 
ployer was  drafted  and  the  young  apprentice,  being  thus  unex- 


*  N.  W.  corner  of  Mulberry  and  Front  streets. 

■John  Emmett.  who  came  from  Augusta  Co.,  Va.  He  followed 
various  vocations,  including  that  of  local  Methodist  preacher.  He  died 
at  Utica.  Ohio.  The  stone  at  the  head  of  his  grave  bears  simply  the  in- 
scription. Rev.  John  Emit.  Among  his  descendents  who  acquired  distinc- 
tion, in  addition  to  those  named  on  the  following  pages,  were  his  grand- 
sons, Benjamin  F.  Smith,  Vespasian  Smith  and  James  Smith,  Jr.  The 
last  was  for  a  time  law  partner  of  Judge  Lafayette  Emmett,  was  elected 
to  the  State  Senate  of  Minnesota  in  1860,  as  a  Republican,  and  was  subse- 
quently re-elected.  He  was  for  many  years  an  attorney  for  the  Lake 
Superior  Railroad. 

(7) 


8  Daniel  Decatur  Emmett, 

pectedly  released,  entered  the  army  as  a  volunteer.  His  name 
heads  the  list  of  privates  in  the  company  of  Captain  Joseph 
Walker,  regiment  of  Colonel  Lewis  Cass.  He  served  also  under 
Captain  John  Spencer,  aided  in  the  defense  of  Ft.  Meigs,  and 
was  present  at  Hull's  surrender.  He  married  Sarah  Zerick,  in 
Clinton,  then  the  county  seat  of  Knox  county,  Ohio.  To  them 
were  born  two  sons,  Daniel  Decatur  and  Lafayette,  and  two 
daughters,  Derada  Jane  and  Martha  Ellen.  All  of  these  have 
passed  away  except  Lafayette,^  ex-Chief  Justice  of  the  Supreme 
Court  of  Minnesota,  who  is  at  present  Territorial  Librarian  of 
New  Mexico.  The  parents  died  in  the  early  sixties  at  St.  Paul, 
Minn.,  where  Lafayette  was  then  living.  Daniel,  the  oldest  of 
the  children,  was  twice  married.  His  first  wife,  whose  maiden 
name  was  Catharine  Rives,  died  May  31,  1875,  at  the  age  of 
46  years.  In  1.879  he  married  Mrs.  Mary  Louise  Bird,  of  Chi- 
cago, who  still  survives.^ 

Emmett 's  early  schooling  was  of  the  most  elementary  char- 
acter. In  those  days  the  free  school  system  was  unknown.  When 
very  young  he  was  taught  to  run  errands  and  assist  his  father 
in  the  blacksmith  shop..  In  the  meantime  he  learned  to  read 
fairly  well  and  to  write  a  good  hand.  In  the  printing  office  his 
real  education  began.  The  training  that  he  there  received  is 
revealed  in  the  careful  and  generally  accurate  punctuation  of  his 
manuscript  papers.  At  the  age  of  thirteen  years  he  began  work 
in  the  office  of  the  Huron  Reflector,  at  Norwalk,  O.  Shortly  after- 
ward he  returned  to  Mt.  Vernon  and  was  employed  by  C.  P.  Bron- 
son  on  the  Western  Aurora  until  he  reached  the  age  of  seven- 
teen years.  Here  he  knew  the  Sherman  boys,  of  whom  he  re- 
lated  interesting   reminiscences.      He   was  best   acquainted    with 

'  Judge  Lafayette  Emmett,  born  in  Mt.  Vernon,  May  8,  1822,  studied 
law  in  the  office  of  Columbus  Delano ;  was  admitted  to  the  bar ;  served 
a  term  as  Prosecuting  Attorney  of  his  native  county;  moved  to  Minne- 
sota in  1851 ;  was  appointed  Attorney  General  of  that  Territory :  was 
member  of  the  Constitutional  Convention,  and  at  the  first  election  of 
state  officers  was  chosen  Chief  Justice  of  the  Supreme  Court :  moved  to 
Las  Vegas,  New  Mexico,  where  he  lived  until  called  to  his  present  posi- 
tion. His  daughter  is  the  wife  of  Miguel  A.  Otero,  Governor  of  New 
Mexico. 

'  Emmett's  first  wife  was  born  in  New  York  City,  April  15,  1828. 
They  were  married  in  1852  or  1853.  She  died  in  Chicago,  May  3,  1875. 
Mrs.    Bird's    maiden   name   was   Brower. 


Author  of  "Dixie."  9 

John,  who  attended  school  four  years  in  the  village.  "William," 
he  said,  "was  always  ready  for  any  escapade  or  wild  adven- 
ture that  promised  sport.  John  was  reserved  and  dignified,  and 
might  readily  have  been  taken  for  a  divinity  student." 

The  peculiar  gift  that  impelled  Emmett  to  his  life  work  he 
doubtless  inherited  from  his  mother.  "As  far  back  almost  as 
I  can  remember,"  he  said,  "I  took  great  interest  in  music.  I 
hummed  familiar  tunes,  arranged  words  to  sing  to  them  and  made 
up  tunes  to  suit  words  of  my  own.  I  paid  no  especial  attention  to 
the  poetry  and  thought  little  about  the  literary  merit  of  what  I 
wrote.  I  composed  Old  Dan  Tucker  in  1830  or  183 1,  when  I 
was  fifteen  or  sixteen  years  old,  before  I  left  Mt.  Vernon." 

He  entered  the  army  at  the  early  age  of  seventeen  years 
as  fifer,  and  served  until  discharged.^  He  was  first  stationed  at 
Newport,  Kentucky,  and  afterward  at  Jefferson  Barracks,  be- 
low St.  Louis,  Missouri.  In  the  service  he  improved  his  oppor- 
tunity to  study  music,  a  fact  to  which  he  has  borne  detailed  and 
explicit  testimony. 

He  afterward  traveled  with  circus  bands  and  had  excellent 
opportunity  to  continue  his  study  and  practice.  He  was  at 
different  times  connected  with  the  shows  of  Spalding  and  Rogers, 
Samuel  Stickney,   Seth  Howe  and   Dan  Rice. 

In  the  early  forties  he  organized  the  first  colored  minstrel 
troupe.  He  named  it  the  Virginia  Minstrels.  He  has  told  how 
he  consulted  a  dictionary  to  satisfy  himself  that  the  word  min- 
strel was  the  proper  one  to  use. 

Much  has  been  written  in  regard  to  the  origin  of  negro 
minstrelsy.  The  following  points  seem  at  present  beyond  dis- 
pute. The  first  troupe  was  organized  in  New  York  City  at  the 
boarding  place  of  Mr.  Emmett,  on  Catharine  street,  in  February 
or  March,  of  1843.  ^^'^  parties  participating  were  "Dan"  Emmett, 
Frank  Brower,  "Billy"  Whitlock  and  "Dick"  Pelham.  Emmett 
played  the  violin,  Whitlock  the  banjo,  Brower  the  bones 
and  Pelham  the  tambourine.  After  practicing  for  some  time  to 
their  mutual  delight,  they  decided  to  make  their  first  appearance 
at  the  Branch  Hotel  on  the  Bowery,  the  rendezvous  for  the 
showmen  of  the  citv  in  those  days. 


'  Emmett  was  discharged  July  8,  1835,  "by  process  of  civil  authority 
on  account  of  minority." 


JO  Daniel  Decatur  Euiinett, 

Nathan  Howes,  the  leading  circus  man  of  his  time,  was 
present  with  a  numerous  assembly  of  the  lesser  lights  of  the 
profession.  There  was  a  disposition  to  scoff  at  the  innovation. 
Comparing  small  things  to  great,  it  was  like  the  advent  of  the 
disciples  of  young  Hugo  in  the  role  of  romanticism. 

The  costume  for  the  occasion  was  chosen  and  the  novel  fea- 
tures designed  by  Emmett  himself.  It  included  white  trousers, 
striped  calico  shirt  and  blue  calico  coat,  the  latter  made  dress 
suit  style  with  elongated  swallow-tail.  This  outfit  did  not  en- 
tirely remove  the  prejudice  of  the  spectators. 

Emmett  tuned  his  violin  and  the  crowd  began  to  jeer. 
Such  a  combination  of  instruments  had  never  been  heard  of  be- 
fore, to  say  nothing  of  the  four  sable  faces.  The  single  Ethio- 
pian of  "Daddy"  Rice's  Jim  Crozve  type  had  been  somewhat 
common,  but  this  new  aggregation  violated  the  unwritten  can- 
ons of  the  comic  stage. 

At  the  conclusion  of  the  opening  chorus  the  crowd  became 
quiet  and  attentive.  "Brower's  funny  song  made  them  howl 
with  delight."  Whitlock's  voice  had  a  like  effect.  Emmett  then 
sang  and  the  little   room   went   into   "an   uproar  of  applause."^ 

So  popular  was  the  performance  that  it  was  almost  imme- 
diately called  to  the  stage.  Emmett  afterward  gave  the  quartet 
the  name  of  Virginia  Minstrels.  Whitlock  in  an  autobiography 
says  that  the  first  appearance  before  the  general  public  was  at 
the  Chatham  Theatre  for  the  benefit  of  Pelham.  "The  house 
was  crowded  and  jammed  with  our  friends,"  says  he,  "and  Dick, 
of  course,  put  ducats  in  his  purse." 

The  company  afterward  was  well  received  in  Boston  and 
New  York.  Later  they  went  to  the  British  Isles  where  they 
were  virtually  stranded.  The  performance  aroused  no  interest 
abroad  and  the  trip  was  a  complete  failure.  Emmett  ]ironiptly 
returned  to  America.  While  abroad  he  witnessed  in  Dublin  the 
liberation  of  Daniel  O'Connell.  the  Irish  patriot. 

When  he  reached  New  York  he  found  that  a  number  of 
organizations  similar  to  the  Virginia  Minstrels  had  been  formed 
and   were  appearing  with  marked   success.     He  played   during 

'  Emmett  was  a  good  singer.  He  played  many  instruments,  l)ut  ex- 
celled with  the  violin  and  flute.  In  musical  composition,  his  reels  and  jigs 
were   especially   popular   with    the   minstrel    profession. 


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12  Daniel  Decatur  Emmett, 

the  winter  for  a  time  in  the  city  and  traveled  as  a  musician  with 
circuses  in  the  summer.  In  1857  he  engaged  with  the  Bryant 
Minstrels  at  470^  Broadway,  to  act  as  musician  and  compose 
negro  melodies  and  plantation  walk-arounds.  Here  he  remained 
till  1865. 

In  1859,  late  one  Saturday  evening,  after  the  performance  at 
the  music  hall,  Mr.  Jerry  Bryant  came  to  him  and  asked  him 
to  write  for  rehearsal  Monday  a  "walk-around"  or  "hooray 
song"  of  the  plantation  type.  It  must  have  a  good  tune.  It  did 
not  matter  so  much  what  the  words  were.  The  song  should 
be  "catchy"  and  contain  phrases  that  the  boys  would  readily 
pick  up  and  repeat  on  the  streets.  Emmett  remarked  that  the 
time  was  unusually  short  but  that  he  would  do  his  best. 

That  night  he  undertook  to  compose  a  tune,  but  failed.  He 
stated  to  his  wife  what  he  was  expected  to  do  and  said  he 
feared  that  he  had  undertaken  too  much.  She  urged  him  to 
persevere  and  told  him  that  he  should  have  the  room  all  to  him- 
self the  day  following,  that  she  knew  he  would  make  a  song 
that  would  please  his  employers.  He  had  always  done  so  and 
he  would  not  fail  this  time.  She  would  be  his  audience,  and  if 
the  song  suited  her  it  would  be  acceptable  to  the  crowds  that 
would  come  to  hear  it. 

Early  in  the  morning  he  picked  up  his  violin  and  began 
work  on  the  tune.  It  was  a  cold  and  dreary  day."  The  rain 
was  falling.  Ais  he  looked  out  of  the  window  into  the  chill  and 
comfortless  street,  he  involuntarily  repeated  the  expression 
familiar  to  showmen  in  the  winter  time,  "I  wish  I  was  in  Dixie 
land."  Emmett  had  previously  traveled  much  through  the 
South,  and  it  was  very  natural  that  this  expression  should  rise 
to  his  lips  on  such  a  day.  Taking  up  his  violin  again  he  began 
to  hum  the  words  and  play.  After  some  hours  of  patient  en- 
deavor, he  had  completed  what  he  thought  would  fill  fairly  well 
the  requirements.  He  next  hastily  prepared  a  stanza  and  chorus. 
The  latter  was  never  changed. 

'  See  facsimile  of  title  page  of  Dixie.  On  old  programs  the  street 
number  is  472. 

'  Col.  T.  Allston  Brown  in  a  letter  to  the  writer  fixes  the  date  of 
the  first  public  rendition  of  the  song  Monday  evening,  Sept.  19,  1859. 
It  was  composed  the  day  previous.  Emmett  in  three  authentic  interviews 
stated  that  it  was  composed  in  the  early  spring  of  1859. 


.IntJior  of   "Dixie."  13 

He  then  called  in  his  wife  while  he  played  and  sang^.  She 
declared  that  the  music  was  all  right;  that  if  the  Bryant  Broth- 
ers were  not  satisfied  with  it  they  would  not  be  pleased  witli  any- 
thing he  could  give  them. 

"What  shall  1  call  it  ?"  said  Emmett.  "I  can  think  of  no 
name  for  it.     I  ought  to  have  a  name  before  finishing  the  words." 

"The  name?"  said  his  wife,  "Why,  it  can  have  but  one  name. 
You  have  it  in  the  chorus.    Call  it  Dixie's  Land." 

And  Dixie's  Laud  it  was  named. ^ 

He  then  proceeded  to  write  the  words.  On  Monday  morn- 
ing he  presented  the  results  of  his  efforts  to  his  employers. 
After  examining  it  carefully  and  putting  it  to  the  test,  they  re- 
turned, evidently  pleased,  and  congratulated  the  composer.  The 
music,  they  thought,  would  be  good  enough  to  print.  But  they 
had  some  grave  doubts  about  the  first  stanza,  which  they  pro- 
ceeded delicately  and  wnth  apologies  to  set  forth.  The  stanza 
did  not  appear  in  the  song  as  originally  printed : 

Dis  worl'  was  made  in  jiss  six  days, 
An'   finish'd  up  in  various  ways ; 

Look  away !  look  away !  look  away !   Dixie  Land ! 
Dey   den   made   Dixie   trim   an'   nice. 
But   Adam   call'd  it   "Paradise." 

Look  away !  look  away !  look  away !  Dixie  Land ! 

This  stanza  is  important  as  it  seems  to  settle  a  point  in 
regard  to  which  there  has  been  some  dispute.  "Dixie,"  a  term 
applied  to  the  entire  South,  is  thought  by  many  to  be  derived 
from  Dixon,  found  in  the  name  of  the  famous  boundary  line 
between  Maryland  and  Pennsylvania,  "Mason  and  Dixon's  line." 
But  the  weight  of  the  testimony  seems  to  point  to  a  different 
origin.  On  Manhattan  Island,  a  man  by  the  name  of  Dixie 
once  kept  slaves  until  forced  by  the  hostile  sentiment  of  the 
North  to  move  South.  The  slaves  were  not  happy  in  their  new 
home  and  frequently  expressed  a  longing  for  Dixie  Land,  the 
name  of  the  old  plantation.*     By   degrees  the  expression  came 

*  The  song  bears  the  title  of  "Dixie's  Land."  The  early  copyright 
issues  corroborate   the  statements  of  their  author. 

'  Another  theory  has  recently  been  advanced  to  explain  the  origin 
of  the  word  "Dixie".  It  is  claimed  that  French  bank  notes  issued  in 
New  Orleans  and  bearing  the  word  for  ten.  dix,  were  called  dixies,  and 


14  Daniel  Decatur  Emmett, 

to  represent  the  elysium  of  the  colored  race  in  the  sunny  South- 
land, where  masters  were  kind,  where  care  never  came  and 
where  joy  held  sway  the  whole  year  round.  The  first  stanza 
of  the  song-  seems  to  show  clearly  that  the  writer  had  in  mind 
this  earthly  paradise,  "away  down  south  in  the  land  ob  cotton," 
without  reference  to  any  particular  spot. 

The  objection  to  the  stanza  was  based  on  religious  grounds. 
Ii;asmuch  as  it  was  thought  that  "the  piece  might  be  found 
worth  publishing  in  sheet  music  form,"  it  was  deemed  best  that 
these  lines  should  be  modified.  "You  see,  Dan,"  said  Mrs.  Bry- 
ant, "in  some  religious  homes  it  might  be  regarded  as  making 
light  of  the  Scriptures.  We  know  that  you  did  not  intend  that 
and  the  lines  are  really  very  nice,  but  don't  you  think  it  would 
be  better  to  change  them?" 

Emmett  said  that  he  probably  could  make  some  modifica- 
tion ;  that  he  cared  little  about  the  words ;  but  that  he  thought 
the  music  should  remain  unchanged  and  that  the  name  should 
be  Dixie's  Land.  All  united  in  this  view,  and  the  composition 
was  a.Gi'ain  praised. 

While  the  author  was  considering  the  first  stanza,  one  of 
the  Bryant  brothers  suggested  that  it  be  dropped.  The  song 
would  be  long  enough  without  it,  and  the  second  stanza  would 
do  very  well  to  begin  with.  Emmett  agreed  to  this,  and  the 
5ong,  without  further  changes,  read  as  follows : 

I  wish  I  was  in  de  land  ob  cotton. 
Old    times    dar   am    not    forgotten ; 

Look   away !    Look  away !    Look   away !    Dixie   Land ! 
In  Dixie  Land  whar  I  was  born  in. 
Early    on    one    frosty    mornin', 

Look  away  !     Look  away  !     Look  away !     Dixie  Land  ! 

CHORUS : 

Den  I  wish  I  was  in  Dixie!  Hooray!  Hooray! 
In  Dixie's  Land  we'll  take  our  stand,  to  lib  an'  die  in  Dixie. 
Away !  away !  away  down   South  in   Dixie. 
Away !  away !  away  down   South  in   Dixie. 
In   Dixie  Land  de  darkies  grow. 
If  white  folks  only  plant  dar  toe; 
Look  away,  etc. 


that  the  name  was  afterward  applied  to  the  South,  the  section  from  which 
thev  came. 


.littlior   of   "I'lxic."  IS 

Dey  wet  dc  groun'  wid  'bakker  smoke. 
Den  up  de  darkies'  heads  will  poke. 
Look   away,   etc. 

Missus  married   Will  de  wcaber, 
Will,  he  was  a  gay  deceaber ; 

Look  away,  etc. 
When  he  put  his  arms  around  'er. 
He  look  as  fierce  as  a  forty   pounder. 

Look  away,  etc. 

Ole  missus  die,  —  she  took  a  decline, 
Her  face  was  de  color  ob  bacon-rhine ; 

Look  away,  etc. 
How  could  she  act   de  foolish  part. 
An'  marry  a  man  to  broke  her  heart. 

Look  away,  etc. 

Den  here's  a  health  to  de   next  ole   missus 
An'  all  de  galls  dat  want  to  kiss  us ; 

Look   away,  etc. 
Den  hoe  it  down  an'   scratch  yoa  grabble. 
To  Dixie  Land  I'm  boun'  to  trabble. 

Look  away,   etc. 

Stanzas  were  added  from  time  to  time  until  the  melody 
was  composed  of  a  score  or  more.  This  fact  accounts  for  the 
variety  of  forms  in  which  the  original  song  appears.  All  of 
the  stanzas  have  perhaps  never  been  printed  together.  The  latest 
edition  includes  the  first  stanza  quoted,  with  chorus,  and  the  fol- 
lowing : 

Ole  missus  marry   "Will-de-weaber" ; 
Willum   was   a   gay   deceaber ; 

Look   away,   look  away,  look   away,  Dixie   land ! 
But  when  he  put  his  arm  around  her, 
He  smiled  as  fierce   as   a   forty-pounder ; 
Look   away,  look  away,  look  away,  Dixie  land ! 

His   face   was   sharp  as  a  butcher's    cleaber; 
But  dat  did  not  seem  to  greab  her ; 

Look   away,   look  away,  look  away,  Dixie  land ! 
Ole   missus   acted   de   foolish   part. 
And   died   for  a   man    dat  broke   her   heart ; 

Look   away,  look  away,  look  away,  Dixie  land ! 

'  Other  stanzas  and  variations  will  be  found  in  the  facsimile  on 
another  page. 


i6 


Daniel  Decatur  Euiinett, 


* I       ■  II   ■■■■llllll 


Jm^//uc^i^t^.  }%.,^  a  -^'"^ 


From  autograph  copy  of  original  Dixie'e  Land.     Manuscript 


Note.  —  It   is  not  probable  that  the   original  manuscript  of  Dixie's 
manuscript  copies  and  it  is  but  natural  that  some  of  these  should  be  pre 


Author  of  "Dixie. 


17 


^J  J_h.(:Si^  i/tynTx. l/c  c^^^'xAuc^ 


-t/^t^r 


i2)i^-^\.  ^c-*m-^^o/^^.i^^    '/ix^tX^, 


tiff-  fCi/Hjai/ftn  jLi/fH.  'cA/h^  £•'2^ '.4/i.A,(3  , 


in  Library  of  Ohio  State  Archaeological  aud  Historical  Society. 


Land   is   in    existence.     It   was   lost   years    ago.     The  author   made   many 
sented  as  the  original. 


l8  Daniel  Decatur  Eunnett, 

Now  here's  health  to  de  next  ole  missus, 
An'  all  the  gals  dat  want  to  kiss  us; 

Look   away,  look  away,   look  away,  Dixie  land ! 
But   if  you   want    to    drive   'way   sorrow, 
Come  and  hear  dis  song  tomorrow ; 

Look   away,  look  away,   look  away,  Dixie  land ! 

Dar's  buckwheat  cakes  an'  Injin  batter, 
Makes  you  fat  or  a  little  fatter ; 

Look  away,  look  away,   look  away,  Dixie  land ! 
Den  hoe  it  down  an'  scratch  your  grabble. 
To  Dixie's  land  I'm  bound  to  trabble; 

Look   away,  look  away,   look  away,   Dixie  land ! 

Tn  Emmett's  neatly  written  volume  entitled  "Walk  'Rounds,"' 
is  the  earliest  manuscript  copy  of  the  song  known  to  exist.  It  is- 
here  quoted  literally,  with  the  exception  of  the  chorus,  which  i&. 
reproduced  with  the  first  stanza  only. 

I  wish  I  was  in  de  land  ob  cotton. 
Old  times  dar  am  not  forgotten ; 

Look  away,  look  away,  look  away  Dixie  land! 
In  Dixie  land  whar  I  was  born  in. 
Early  on   one   frosty  mornin'. 

Look  away,   look  away,  look  away  Dixie  land! 


Den  I  wish  I  was  in  Dixie !  Hooray !  Hooray ! 

In  Dixie's  land  we'll  took  our  stand  to  lib  an'  die  in  Dixie,. 

Away,  away,  away  down  south  in  Dixie ! 

Away,  away,  away  down  south  in  Dixie ! 

Old    missus    marry    Will    de    weaber, 
William  was  a  gay  deceaber, 
When  he  put  his  arm  around  'er. 
He  looked  as  fierce  as  a  forty  pounder. 

His  face  was  sharp  as  a  butcher  cleaber. 
But  dat  did  not  seem  to  greab  'er ; 
Will  run  away,  missus   took   a   decline,   O, 
Her  face  was  the  color  of  bacon  rhine,  O.. 

While  missus  libbed,  she  libbed  in  clover^ 
When  she  died,  she  died  all  over; 
How  could  she  act  de  foolish  part. 
An'  marry  a  man  to  break  her  heart. 


.hither   of   "Dixit'."  [Q 

Buckwheat  caKCS  an'  stony  batter 
Makes  you  fat  or  a  little  fatter ; 
Here's  a  health  to  de  next  old  missus 
An'  all  de  galls  dat  want  to  kiss  us. 

Now  if  you  want  to  drive    way  sorrow, 
Come  and  hear  dis  song  tomorrow ; 
Den  hoe  it  down  an'  scratch  your  grabble, 
To  Dixie's  land  I'm  bound  to  trabble. 

From  the  initial  presentation  the  song  was  popular,  though 
no  one  dreamed  of  the  wide  celebrity  that  it  afterward  attained. 
It  went  from  city  to  city.  Through  the  theatres  and  the  music 
halls  it  reached  the  people.  It  first  became  widely  known  in  the 
North.  In  the  political  campaign  of  the  year  following,  Abra- 
ham Lincoln,  it  is  said,  heard  the  tune  to  Republican  words, 
and  was  much  pleased  with  it. 

Without  the  consent  of  the  author,  the  publisher  brought 
out  his  song  under  the  title,  /  zcish  I  tvas  in  Dixie's  Land.  Soon 
afterward  the  words  and  music  under  the  title  of  Dixie  were  pub- 
lished in  New  Orleans  by  P.  P.  Werlein.  He  was  notified  at  once 
that  Emmett  was  the  author  and  that  his  publishers  would  de- 
fend the  copyright.  A  number  of  communications  passed  be- 
tween the  two  publishing  houses,  the  Southern  man  finally  "giv- 
ing his  case  away"  by  writing  to  Emmett  and  oflfering  him  $5.00 
for  his  copyright. 

At  a  great  convention  of  music  dealers  held  in  New  York 
City,  the  attorney  for  Emmett's  publishers  presented  his  claim 
to  original  authorship  with  an  overwhelming  array  of  proof 
from  many  parts  of  the  country.  He  concluded  by  stating  that 
Emmett  was  present,  that  he  was  no  speaker,  but  that  if  they 
cared  to  hear  him  relate,  "in  his  plain  western  style,"  the  cir- 
cumstances under  which  the  song  was  composed,  he  would  prob- 
ably consent  to  do  so.  At  the  request  of  the  audience,  now 
thoroughly  interested,  Emmett  briefly  told  his  story.  The  mani- 
festations of  approval  were  so  hearty  that  the  New  Orleans 
publisher,  who  was  present  and  who,  by  the  way,  seems  originally 
to  have  published  the  song  in  good  faith,  came  forward  and 
said,  "I  give  it  up,  too." 


20  Daniel  Decatur  llnnneit. 

An  amicable  arrangement  was  then  made  by  which  Mr. 
Werlein  was  permitted  to  sell  what  he  had  already  published. 
Kmmett  insisted,  when  a  new  edition  of  the  song  was  issued,  that 
it  bear  the  title  Dixie's  Laird,  the  name  his  wife  had  originally 
suggested.  Thenceforth  the  authorship  was  never  seriously  ques- 
tioned. 

The  circumstances  under  which  Dixie  became  the  war  song 
of  the  Confederacy  are  substantially  as  follows : 

In  the  spring  of  i86i,^  a  spectacular  performanct  was  to 
be  given  in  New  Orleans.  The  parts  had  all  been  agreed  upon, 
except  a  song  for  the  grand  chorus  that  should  arouse  enthu- 
siasm and  stir  the  Southern  blood.  Many  songs  were  suggested^ 
but  none  proved  entirely  satisfactory.  Dixie  was  tried  and  given 
the  place  of  honor.  The  great  throng  that  heard  it  was  thrilled. 
Encore  followed  encore  in  the  midst  of  wild  demonstrations  of 
approval.  It  then  rapidly  spread  throughout  the  South  and  be- 
jame  the  rallying  cry  of  the  Confederacy. 

In  the  meantime,  while  the  author's  name  w-as  not  prom- 
inently associated  with  the  song,  dissenting  pat^riots  learned  who 
and  where  he  was.  Many  an  intensely  loyal  son  of  the  North 
mailed  him  letters  of  disapproval.  Some  gravely  expostulated 
«jnd  warned  him  to  turn  from  the  error  of  his  wav ;  some  rid!- 


'  The  crowning  popularity  of  this  well-known  ditty  was  secured  in 
New  Orleans  in  the  spring  of  1861,  when  Mrs.  John  Wood  played  an 
t-ngagement  at  the  Varieties  Theatre.  "Pocohontas,"  by  John  Broughan", 
was  the  attraction,  and  in  the  last  scene  a  zouave  march  was  introduced. 
carlo  Patti,  brother  of  Adelina  Patti.  was  the  leader  of  the  orchestra. 
At  the  rehearsal  he  was  at  a  loss  as  to  what  air  to  appropriate.  Trying 
several,  he  finally  hit  upon  "Dixie".  Tom  McDonough  shouted,  "Th^t 
A'ill  do;  the  very  thing;  play  it  tonight."  Mrs.  John  Wood,  Mark  Smith, 
T^effingwell  and  John  Owens  were  delighted.  Night  came,  the  zouaves 
/narched  on,  led  by  Miss  Susan  Denin,  singing,  "I  wish  I  was  in  Dixi«t  " 
The  audience  went  wild  with  delight  and  seven  encores  were  demandpd. 
Soon  after  the  war  broke  out.  The  Washington  Artillery  had  the  tune 
arranged  for  a  quickstep  by  Romeo  Meneri.  The  saloons,  the  parlors,  th'^ 
streets  rang  with  the  "Dixie"  air,  and  "Dixie"  became  to  the  South 
what  the  "Marseillaise"  is  to  France.  —  Dr.  G.  A.  Kane  in  New  York 
World,  1893. 

Others  claim  that  it  was  first  rendered  with  success  south  of  Mason 
and  Dixon's  lire  by  Rumsey  ana  Newcomb's  Minstrels  in  Charleston,  S. 
C.  December,  1860. 


.hitlior   (if    "Dixie."  2\ 

culed  the  song-  as  a  clownish  perforniancc  \n  behalf  of  secession; 
some  denounced  it  as  rank  treason,  and  suggested  a  rope  for  the 
neck  of  the  author.  A  Union  man,  reared  by  a  father  who 
aided  negroes  to  escape  through  the  agency  of  the  underground 
railway,  Emmett  was  surprised  and  confused  at  the  remarkable 
prominence  and  significance  fortuitous  circumstances  had  given 
his  unambitious  effort. 

After  the  war  he  went  to  Chicago  and  remained  there  until 
1888,  when  he  returned  to  his  native  city  and  found  a  humble 
but  cozy  abode  near  the  farm  once  owned  by  his  father.  For 
years  he  lived  in  comparative  obscurity.  He  found  content- 
ment and  happiness  in  the  simple  life  and  familiar  scenes  of 
his  boyhood.  The  open  air,  the  fields  and  the  woods  in  which 
he  always  found  an  indescribable  pleasure,  became  again  his 
familiar  haunts.  He  found  congenial  companionship  among  his 
farmer  neighbors  who  still,  without  exception,  speak  of  him 
familiarly  as  Uncle  Dan.  It  was  known  that  he  had  traveled 
with  a  circus,  but  none  of  his  acquaintances  seemed  to  have 
suspected  that  he  ever  did  anything  that  had  received  recogni- 
tion outside  of  the  community.  His  indifference  to  fame  and 
his  modest  estimate  of  his  own  achievements  kept  him  silent  on 
the  subject  of  his  life  work.  His  friends  were  not  a  little  sur- 
prised when  Al.  G.  Field,  the  Columbus  minstrel  manager  and 
an  old  friend  of  Emmett,'  called  the  bard  from  his  retreat  and 
introduced  him  to  the  world  as  the  author  of  Dixie. 

For  years  Mr.  Field  had  been  seeking  some  trace  of  his 
venerable  friend.  Finally  he  received  information  indicating  that 
he  had  returned  to  Mt.  Vernon  and  was  perhaps  still  living  there. 
Meeting  a  prominent  editor  in  that  city,  he  said : 

"Do  you  know  a  man  by  the  name  of  Daniel  Emmett?" 

"Oh,  yes,"  was  the  reply,  "we  all  know  Uncle  Dan  Emiiiett. 
He  lives  about  a  mile  north  of  the  city." 

"He  is  the  man  I  wish  to  see.  Can't  you  arrange  to  take 
me  to  him  at  once?    He  wrote  Dixie  and  many  other  songs." 

"Mr.  Field,  he  is  not  the  man.  Uncle  Dan  never  wrote 
anything.  He  is  only  a  retired  showman.  Tt  is  not  worth  while 
to  go  to  see  him." 

'  Emmett  had  charge  of  a  Chicago  concert  hall  in  the  early  seventies. 
Here   he  first   met   Field  and   gave   him   temporary  employment. 


Daniel  Decatur  /:iiinictt. 


"Nevertheless,"  said  Mr.  Field,  "he  is  the  man." 
The  result  was  a  visit  to  the  home  of  Emmett  and  a  pleas- 
ant reunion  of  friends  long  separated. 

Mr.  Field,  in  fulfillment  of  a  promise,  made  another  visit 
later  in  the  summer.  As  he  approached  the  house,  he  was  a 
little  surprised  to  hear  the  strains  of  a  violin.  At  the  doorway 
he  met  his  aged  friend  who  began  to  laugh  most  heartily. 

"Do  you  know  \vhat  Fve  been  doing?"  he  said.  "Almost 
ever   since   you    were    here   before,    I    have   been   practicing.      I 

want  to  see  the  world  again.  I 
am  going  with  you  on  your 
next  trip." 

This  was  the  first  time  that 
the  thought  of  such  a  project 
had  occurred  to  Mr.  Field. 
The  journey  was  a  long  and 
arduous  one  for  a  man  of  four 
score  years.  The  solicitation 
of  the  minstrel  prevailed,  how- 
ever, and  arrangements  were 
made  for  the  tour. 

When  he  was  ready  to  leave 
Alt.  Vernon,  he  declared  that 
only  one  thing  troubled  him. 
He  had  a  large  flock  of  chick- 
ens that  he  had  raised  with 
much  care.  Among  them  were 
a  number  of  pets  that  he  called 
bv  name,  lie  did  not  know  who  would  look  after  them  when 
he  was  gone.  A  neighbor  set  his  fears  at  rest  and  promised 
to  take  charge  of  the  flock  in  the  absence  of  the  owner. 

He  came  to  Columbus  in  August,  1895,  and  after  remain- 
ing a  short  time  with  friends  started  with  the  minstrels  on  their 
annual  circuit.  The  manager  at  first  had  thought  simply  to 
have  him  introduced  at  the  opening  of  the  evening's  perform- 
ance as  the  father  of  American  minstrelsy  and  the  author  of 
Dixie.  This  did  not  satisfy  Uncle  Dan.  It  was  therefore  ar- 
ranged that  he  was  to  be  presented  and  remain  standing  while 


D.\NIEL   D     KMMETT. 
(  From  late  photograph.) 


Inlli<>r   (if   "Pixii'.' 


23 


tlie  orchestra  playotl  Pi.vic.  after  wliieh  he  eould  make  a  few  re- 
marks, if  lie  desired. 

He  first  appeared  at  Newark,  Ohio,  August  22.  1895.  A 
large  crowd  was  present,  few  of  wh()ui  knew  much  about  Em- 
mett  or  the  origin  of  his  famous  song.  After  the  introduction, 
the  strains  of  Dixie  floated  out  on  the  evening  air,  when,  to 
the  surprise  of  the  manager  and  those  assembled,  the  tremulous 
voice  of  Uncle  Dan  rose,  as  with  old  time  gestures  and  anima- 
tion he  sang  the  song  that  more  than  thirtv-five  years  l)efore  he 
had  rendered  as  one  of  the  Bryant  Minstrels  in  the  metropolis. 
The  singing  was  followed  by  a  happy  little  address,  in 
which  the  speaker  said  he  returned  to  the  stage  for  his  farewell 
tour  after  an  absence  of  twenty-one  years. 

When  the  Al.  G.  Field  Minstrels  reached  the  South,  Emmett 
was  frequently  the  star  attraction.  A  great  ovation  was  accorded 
him  at  Richmond.  Ladies  showered  flowers  upon  him  and  rep- 
resentatives of  the 
first  families  of  Vir- 
ginia paid  their  re- 
spects. While  here  a 
somewhat  a  m  u  s  ing 
incident  occurred.  He 
ventured  out  one 
bright  morning,  unob- 
served as  he  thought, 
to  visit  points  of  in- 
terest in  the  city.  He 
paused  before  the 
Stonewall  Jackson 
monument  and  raised 
his  hat  to  shield  his 
eyes  from  the  sun- 
light while  he  read  the 
inscription.  He  was 
somewhat  surprised  to 
read  in  an  evening  pa- 
per an  item  with  large 

DANIEL  D.  EMMETT.  head     liues.     ruuning 

(Resting  by  the  wayside.     From  a  late  pen 

sketch.)  somethmg  like  thi"; : 


24  Daniel  Decatur  Emmeti, 

"Daniel  Decatur  Emmett,  the  author  of  Dixie,  like  the  true  Southron 
that  he  is,  bowed  with  uncovered  head  before  the  monument  of  Stonewall 
Jackson." 

The  university  students  at  Charlottesville,  Virginia,  gave 
him  a  rousing  reception.  At  Nashville  he  was  invited  by  Gen- 
eral John  B.  Gordon,  who  was  lecturing  at  another  opera  house, 
to  occupy  a  box  as  the  guest  of  honor.  When  he  entered  he 
was  greeted  by  General  Gordon,  who,  in  an  eloquent  address, 
introduced  him  to  the  large  audience  as  the  author  of  Dixie. 

At  Wilmington,  Delaware,  he  was  given  a  reception  by  the 
daughters  of  Thomas  F.  Bayard,  Ambassador  to  England  and 
ex-Secretary  of   State. 

He  visited  all  the  important  cities  of  the  South.  His  pro- 
gress can  best  be  described  in  the  words  of  Mr.  Field : 

"Uncle  Dan  was  not  in  the  best  voice  after  he  had  marked  his 
four  score  years,  but  every  lime  he  appeared  before  the  footlights  to 
sing  Dixie,  the  audience  went  as  nearly  wild  as  any  I  have  ever  seen. 
It  seemed  to  me  as  if  they  would  actually  raise  the  roof  from  the  theatre. 
Every  man,  woman  and  child  would  rise  in  a  body  and  simply  over- 
whelm sentimental  Uncle  Dan  with  applause.  It  was  great,  sir,  simply 
great.  It  brought  back  to  the  memory  of  the  grizzled  men  who  bore 
arms  for  the  Southland  the  desolate  camps,  the  fields  of  defeat  and  the 
enthusing  recollections  of  victory.  Those  Confederate  soldiers  had  sung 
Dixie  on  road  and  in  camp.  It  recalled  to  the  widows,  wives  and  daugh- 
ters the  occasions  on  which  the  song  had  been  sung  while  the  men  were 
valorously  fighting  for  the  cause  that   was  dear  to  all   of   them." 

He  was  much  impressed  with  the  demonstrations  in  his 
honor.  Nor  could  he  forget,  in  the  midst  of  it  all,  the  novelty 
of  the  situation.  Here  was  a  man,  born,  reared  and  educated  in 
the  North,  and  through  the  Civil  War  sharing  the  sentiment 
of  that  section,  enthusiastically  received  throughout  the  South 
for  service  that  he  had  never  intended  to  perform. 

A  number  of  interesting  anecdotes  are  related  of  the  tour. 
One  of  these  is  worth  recording,  as  it  is  characteristic.  Em- 
mett invariably  attended  church  when  on  the  road.  One  Sunday 
when  the  troupe  was  in  Topeka,  Kansas,  he  entered  what  he 
took  to  be  a  place  of  worship  and  with  bowed  head  quietly  took 
a  seat.  The  services,  as  he  thought,  had  already  commenced. 
He  listened  and  soon  discovered  his  mistake.     He  had  slipped 


.lutlior  of   "Pixie."  25 

into  a  secular  meeting  of  a  very  pronoiniced  political  type,  such 
as  flourished  in  Kansas  about  that  time.  At  the  conclusion  of 
an  impassioned  appeal,  the  speaker  said:  "What  show  has  any 
one?  What  show  have  you?  What  show  has  this  city?"  Em- 
mett  rose  with  a  serious  look  on  his  face  and  in  a  clear  voice 
said:  "The  best  show  on  earth,  and  I  belong  to  it."  He  then 
walked  solemnly  out  of  the  hall  with  the  eyes  of  the  puzzled 
audience  on  him. 

The  last  performance  of  the  season  was  given  at  Ironton, 
Ohio,  April  11,  1896.  Here  he  told  the  audience  that  this  was 
the  final  appearance  on  his  farewell  tour ;  that  after  having 
been  before  the  public  as  an  entertainer  for  a  longer  period  than 
the  life  of  the  average  man.  he  would  return  to  spend  the  re- 
mainder of  his  days  at  his  little  home  near  Mt.  Vernon. 

He  could  not  be  insensible  to  the  marked  attention  and 
uniform  kindness  that  had  been  shown  him ;  "But,"  said  he,  "so 
much  of  the  same  thing  grew  a  little  monotonous;"  and  he  was 
glad  to  return  to  the  quiet  of  his  rural  home. 

Here  he  lived,  humbly  it  is  true,  but  with  means  adequate 
to  his  simple  wants, ^  surrounded  by  neighbors  who  esteemed 
him  for  his  personal  qualities,  and  in  the  enjoyment  of  good 
health  for  one  of  his  years.  His  long  tour  had  again  thoroughly 
introduced  him  to  the  world.  Had  he  not  made  it,  he  would 
doubtless  have  passed  the  remainder  of  his  days  unnoticed  and 
forgotten.  To  his  cottage  now  came  visitors  to  pay  their  re- 
spects and  chat  with  the  pioneer  minstrel,  who,  like  other  gifted 
sons  of  Ohio,  had  done  much  to  extend  the  fame  of  the  Buck- 
eye State.  Hither  came  newspaper  and  magazine  correspond- 
ents. In  the  little  room  on  different  occasions  sat  the  disting- 
uished southern  statesman  and  soldier.  Gen.  John  B.  Gordon, 
whom  Emmett  greatly  admired  and  of  whom  he  invariably  spoke 
in   eulogistic   terms. 


'  .^fter  retiring  from  the  stage,  he  received  weekly  benefits  in  cash 
from  the  Actors'  Fund,  of  New  York  City.  He  also  had  an  irregular 
income  from  autograph  copies  of  Dixie.  To  Messrs.  Vaughan  Kester  and 
Paul  Kester  is  chiefly  due  the  credit  of  bringing  Emmett's  claim  to  the 
attention   of   the   .Actors'    Fund. 


26  Daniel  Decatur  Emmett, 

His  last  public  appearance  is  described  in  the  following 
extract  from  an  article  in  the  Knox  County  Republican  of  July 
I,   1904: 

Two  years  ago  at  a  local  performance  he  made  his  last  appearance 
before  the  footlights  for  the  Elks.  He  was  to  sing  his  own  version  of 
Dixie.  The  hall  was  crowded,  and  when  he  walked  on  the  stage  he  was 
given  an  ovation,  the  audience  rising.  This  mark  of  esteem  was  too 
much  for  the  old  minstrel,  and  the  tears  coursed  down  his  cheeks.  The 
orchestra  played  the  introduction  and  played  it  again,  but  Uncle  Dan  was 
all  unmindful  of  the  situation,  and  stood  with  tears  streaming  down  his 
face.  It  was  a  pathetic  spectacle.  Finally  a  tenor  caught  and  hummed 
the  refrain,  and  then  Uncle  Dan  picked  up  the  verse  and  sang  it." 

On  a  tranquil  morning  early  in  September,  1903,  the  writer 
made  a  call  at  the  home  of  the  aged  ininstrel.  An  elderly  lady, 
who,  as  he  afterward  learned,  was  Mrs.  Emmett,  answered 
promptly,  and  in  reply  to  a  question  said  that  her  husband  had 
gone  on  his  daily  stroll  to  the  woods  about  half  a  mile  distant, 
and  that  he  probably  would  not  be  back  before  noon.  Later  in 
the  day  another  call  was  made  at  the  cottage.  In  response  to  a 
knock  at  the  door,  a  clear  and  pleasant  voice  bade  the  visitor 
enter,  and  a  moment  later  he  stood  in  the  presence  of  Mr.  Emmett. 
The  bearing  of  the  aged  man  was  dignified,  his  greeting  sincere. 
In  his  neat  but  humble  home  he  preserved  the  graces  of  the  cul- 
tured gentleman. 

He  was  seated  in  a  rocking  chair  near  the  window,  read- 
ing a  book.  He  wore  no  glasses.  His  eyesight  through  life 
had  been  good  and  at  the  age  of  almost  eighty-eight  years  it 
was  practically  unimpaired.  He  was  remarkably  well  preserved. 
His  conversation  was  coherent  and  at  times  animated  ;  his  mem- 
ory excellent ;  his  intellect  unclouded.  A  slight  lameness  from 
rheumatism  was  his  only  visible  affliction.  His  long  life  and 
good  health  he  attributed  to  his  temperate  habits. 

He  apologized  for  his  full  beard,  saying  that  usually  he  wore 
only  a  mustache.  The  beard  was  very  becoming,  however.  Re- 
move the  spectacles  from  the  later  pictures  of  Charles  A.  Dana, 
and  you  will  have  a  very  good  portrait  of  Mr.  Emmett  as  he 
appeared  that   September  afternoon. 

He  manifested  much  interest  in  pioneer  history  and  seemed 
quite  familiar  with  the  lives  of  noted  Indian  chieftains.     While 


Author  of  "Dixie."  2y 

talking  on  this  topic  he  remarked,  incidentally,  that  he  had 
helped  to  set  the  type  for  one  of  the  editions  of  Drake's  "Amer- 
ican Indians"  while  he  was  learning  the  printing  trade. 

What  especially  impressed  the  visitor  was  Emmett's  ap- 
parent indifference  to  the  fate  of  his  work.  He  wrote  Inmdreds 
of  songs,  many  of  which  were  popular  in  other  days,  of  which 
he  had  kept  no  copy.  He  seemed  pleased,  however,  to  know 
that  he  was  recognized  as  the  author  of  Dixie  —  especially  in  the 
dawning  era  of  good  feeling  between  the  North  and  South,  which 
had  made  the  music  of  his  song  welcome  in  American  homes 
of  both  sections.  He  referred  with  evident  pleasure  to  Abraham 
Lincoln's  felicitous  request,  after  the  surrender  at  Appomattox, 
that  the  band  play  Dixie}  "For."  said  the  great  emancipator, 
"we  have  captured  the  Confederacy,  and  Dixie  now  belongs  to 
the  Union." 

Through  the  music  of  God  Save  the  Queen  the  voice  of 
patriotism  now  finds  expression  in  our  own  America.  What 
service  the  melody  of  Emmett's  famous  song  shall  yet  render, 
we  may  not  say.  It  will  live,  however,  and  be  on  the  lips  and 
in  the  hearts  of  men  when  the  deeds  of  many  a  warrior  and 
statesman  are  relegated  to  the  comparative  obscurity  of  recorded 
history. 

Among  Emmett's  compositions,  in  addition  to  those  already 
named,  were:  Jordan  is  a  Hard  Road  to  Travel;  Striking  He; 
Here  We  Are,  or  Cross  Ohcr  Jordan:  Billy  Patterson;  Road  to 
Richmond ;  Go  Way,  Boys:  Black  Brigade. 

'A  war  correspondent  recalls  the  circumstances  as  follows:  The 
President  had  returned  from  Richmond  and  a  crowd  called  with  a  band 
to  tender  congratulations  and  a  serenade.  Several  members  of  the  Cabinet 
were  present.     In  closing  his  brief  remarks,   Mr.    Lincoln   said : 

"I  see  you  have  a  band  with  you.  I  should  like  to  hear  it  play 
Dixie.  I  have  consulted  the  Attorney-General,  who  is  here  by  my  side, 
and  he  is  of  the  opinion  that  Dixie  belongs  to  us.     Now  play  it." 

That  it  has  become  a  song  of  all  sections  of  our  common  country 
is  attested  by  the  tumultuous  applause  with  which  it  was  greeted  in  the 
latest  national  conventions  of  the  two  dominant  political  parties.  Not- 
withstanding its  popularity,  the  author  realized  but  $500  from  the  sale  of 
the  copyright. 


28  Daniel  Decatur  Emmett, 

Old  Dan  Tucker^  which  he  composed  when  a  mere  boy, 
was  for  many  years  famiUar  wherever  EngHsh  is  spoken.  Even 
to  this  day,  how  readily  we  recall  the  grotesque  lines : 

Old   Dan   Tucker,    he   got    drunk, 

He   fell  in  the  fire  and  kicked  out  a  chunk ; 

and  the  refrain : 

Get   out  the  way.  Old   Dan  Tucker ; 
You's  too  late  to  get  your  supper. 

Long  before  the  South  had  adopted  Dixie  as  its  battle-song, 
the  Abolitionists  of  the  North  had  appropriated  the  air  of  Old 
Dan  Tucker,  and  used  it  with  words  expressive  of  devotion 
to  their  cause.  From  the  troublous  times  before  the  war  comes 
down  through  the  intervening  years  the  refrain  :- 

Roll   it  on   through   the  nation. 
Freedom's  car,   Emancipation ! 

It  would  be  difficult  to  explain  the  secret  of  the  wonderful 
currency  of  Emmett's  melodies.  The  fact  of  their  popularity 
remains,  however,  and  the  supplemental  fact  of  their  originality. 
The  latter  is  worthy  of  more  than  passing  notice.  Many  have 
suggested  a  remote  origin  for  his  best  known  productions. 
Efforts  have  been  made  to  verify  this  theory,  but  they  have 
failed.  The  more  the  subject  is  studied,  the  more  clearly  appar- 
ent it  becomes  that  the  source  of  these  modest  but  famous  lays, 
with  their  insinuating  strains  and  quaint  words  carelessly  thrown 
together,  was  the  unassuming  Buckeye  minstrel  of  Mt.  Vernon. 
Yankee  Doodle,  America,  The  Star  Spangled  Banner  and  The 
Red,  White  and  Blue  are  sung  to  foreign  airs.  Dixie  is  an 
American  product. 

As  already  stated,  Emmett  was  indifferent  to  his  fame.  It 
is  doubtful  whether  he  would  have  foregone  his  morning  ram- 
ble through  the  fields  and  woods,  on  a  bright  day,  to  substanti- 

^  The  name,  as  the  author  explained,  was  made  up  of  his  own.  Dan, 
and   that   of  a    favorite   dog.    Tucker. 

'  Other   northern   songs   were   sung   to   this   air,   among   them   one    in 
Richard   Grant   White's  collection,  with   the  chorus : 
Get  out  of  the  way,  old  JefF.  Davis, 
Out  of  the  way,  old  JefF.  Davis, 
Out  of  the  way.  old  JefF.  Davis, 
You're   too  late   to   come   to  enslave   us. 


.lutlior  of   "Pixie."  29 

ate  his  claim  Ifi  anylhiiii;-  lie  had  written.  To  those  seeking 
information  ho  told  his  story  in  his  jilain,  quiet  way.  Time  has 
verified  his  reluctant  testimony  in  regard  to  his  own  work. 

On  Tuesday,  June  28,  1904,  shortly  after  the  twilight  shad- 
ows had  deepened  into  the  darkness  of  night,  Daniel  Decatur 
Emmett  hreathed  his  last.  He  had  been  ill  three  days,  but  was 
able  to  walk  about  in  his  room  within  a  few  hours  of  his  death. 

Although  he  was  not  a  member  of  the  order,  in  accordance 
with  his  desire,  his  funeral  was  conducted  by  the  local  lodge 
of  the  Elks,  under  direction  of  his  friend,  Al.  G.  Field.  On 
July  1st.  the  body  lay  in  state  at  the  Elks'  Home.  In  the  after- 
noon it  was  conveyed  to  St.  Paul's  Episcopal  Church. 

To  the  stranger  seated  here  on  this  occasion,  while  the  good 
people  of  the  city  were  quietly  assembling,  the  past  was  full  of 
material  for  meditation.  Here  the  Sherman  boys  and  Emmett 
met  seventy  years  ago.  In  the  struggle  that  threatened  the 
Union,  the  former,  in  the  forum  and  on  the  field,  led  the  North ; 
the  latter  composed  the  music  that  ins])ired  the  South.  To  this 
church  Columbus  Delano  and  Emmett  often  came,  and  from  it. 
when  full  of  years,  they  were  borne  by  loving  hands  and  laid 
to  rest  in  the  silent  city  on  Mound  View.  Who  can  fix  a  limit 
to  the  influences  that  have  gone  forth  from  this  historic  spot? 
"Warrior  and  statesman  and  singer  depart,  but  something  of  their 
work  remains  with  the  living. 

In  a  brief  address.  Rev.  William  E.  Hull,  rector  of  St. 
Paul's,  paid  fitting  tribute  to  the  dead  minstrel.     He  said  in  part : 

"Of  his  life,  made  prominent  as  the  composer  of  the  famous  song 
Dixie,  the  press  has  given  full  and  accurate  detail,  paying  the  high 
tribute  to  the  integrity  of  his  character,  that  he  was  extremely  temperate 
in  all  things  during  his  long  and  eventful  career  of  nearly  four  score 
and   ten  years. 

"As  we  are  assembled  within  the  holy  place  of  God  to  pay  our  last 
tribute  of  respect  to  the  memory  of  our  departed  friend  and  brother  and 
to  sing  the  hymns  he  loved  in  life  so  well,  Jesus  Lover  of  My  Soul,  Nearer 
My  God  to  Thee  and  Lead  Kindly  Light,  and  to  read  the  solemn  ser- 
vices which  speak  of  life,  death  and  immortality,  I  turn  your  thoughts 
to   the   inward    and   deeper   springs   of   his    spirit   personality. 

"Dignified  and  retiring  as  I  knew  him  in  his  later  years,  his  large 
experience  with  the  world  and  men  of  affairs  in  the  realm  of  stageland. 
and  his  association  with  "Dixie  Land"  made  him  a  gentleman,  as  to  the 


30  Daniel  Decatur  luiunctr, 

manor  burn  ;  and  having  penetrated  the  reserve  of  his  exterior,  he  received 
you  in  his  humble  home  with  the  freedom  and  ease  of  one  able  to  dis- 
pense hospitality   with   a   lavish   hand. 

"The  religious  side  of  his  character  was  that  which  should  especially 
interest  us  at  this  time  and  place.  Baptized  in  his  early  childhood,  he 
never  made  an  outward  declaration  of  his  convictions  to  the  public,  nor 
united  with  any  church.  But  he  was  a  great  reader  of  the  Bible,  and  in 
his  later  years  bought  a  copy  with  larger  print  that  he  might  continue 
reading  as  his  vision  failed;  that  he  might  still  see  God.  He  himself 
once  told  nu  that  he  never  laid  his  head  upon  his  pillow  at  night  with- 
out bending  his  knees  at  his  bedside  and  offering  up  a  prayer  to  the 
Almighty  One.  And  I  am  informed  that  he  never  partook  of  his  meal, 
however  humble  and  frugal,  that  he  did  not  bow  his  head  and  ask  God's 
blessing  upon  it.  These  are  the  marks  of  a  deep  religious  nature,  but  as 
with  many,  such  as  Lincoln  and  others,  it  was  aside  from  the  sacramental 
fellowship  of  God's  altar  in  the  church.  A  degree  of  eccentricity,  which 
governed  him  in  some  things,  may  have  had  the  controlling  influence  in 
this    direction. 

"His  journey  in  earth  is  done,  but  the  beautiful  and  touching  notes 
of  Dixie  vvliich  he  let  fly  from  his  breast  on  that  raw  and  cheerless  day, 
nearly  half  a  century  ago,  will  live  to  cheer  and  gladden  the  lives  of 
generations     yet     unborn." 

Through  the  streets  of  his  home  city,  her  famotis  bard  was 
borne  with  every  mark  of  respect  to  his  last  resting  place. 
Slowly  the  procession  moved  along  the  avenue  to  the  beautiful 
cemetery  on  the  hill.  The  declining  sun  from  the  west  poured 
down  a  flood  of  light  on  the  meadows  and  woodland  that  had 
grown  dearer  to  him  with  advancing  years.  "The  trees  of  the 
field  clapped  their  hands"  in  the  evening  breeze,  but  he  who 
loved  their  quiet  shade  came  not  again.  The  crowd  stood  with 
uncovered  heads  about  the  grave.  The  band  played  Dixie  and 
the  notes  touched  every  heart.  The  melody  that  had  brought 
the  sleeper  fame  was  his  fitting  requieiu. 


Author  of   "Pixie."  31 


AUTHORSHIP  OF  DIXIK. 

At  various  times  questions  have  been  raised  in  regard  to 
the  authorship  of  Dixie.  These  have  usually  resulted  from  the 
natural  impression  that  the  air  originated  in  the  South,  and  the 
fact  that  different  persons  wrote  verses  that  were  sung  to  the 
music  of  the  original.  After  Emmett's  death  a  correspondent 
of  the  Baltimore  Sun  set  forth  the  claims  of  Harry  McCarthy  in 
the  following  communication,  which  is  here  quoted  because  it 
is  typical  of  others  that  have  been  exploited  at  different  times : 

"Was  Emmett,  who  died  recently,  or  Harry  McCarthy,  who  died 
in  Arkansas  in  1874,  the  real  author  of  the  South's  war  song,  Dixie f 
The  death  of  Emmett  recently,  with  the  assertion  that  he  was  the  author, 
has  given  rise  to  some  doubt  on  the  question  of  authorship  and  Mr.  John 
W.  Callahan  of  Selma,  Ala.,  in  a  recent  letter  to  the  Ledger,  gives  his 
views  on  the  subject  of  authorship  and  says  that  McCarthy  was  the  real 
author  of  Dixie.  He  says  that  the  claim  of  the  recently  deceased  minstrel 
Emmett,  to  the  authorship  of  Dixie  is  utterly  without  foundation.  Old 
Southerners  who  remember  the  days  from  '60  to  '65,  know  well  enough 
that  Harry  McCarthy,  the  Arkansas  comedian,  was  the  author  of  Dixie. 

"McCarthy  was  a  native  of  a  country  town  in  Arkansas  and  was 
reputed  to  be  an  idler  and  loafer,  but  had  a  talent  for  vocal  music  which 
made  him  famous.  He  married  a  lady  who  had  as  sweet  a  voice  as  ever 
a  bird  poured  out  and  the  two  made  a  show  which  drew  a  crowd  wher- 
ever they  appeared.  They  formed  a  combination  with  a  party  that  had 
trained  birds  in  1862,  and  I  saw  their  performance  at  Selma.  They  had 
a  cockatoo  which  came  out  and  waltzed  on  a  platform  and  at  the  com- 
mand of  his  keeper  reared  up  to  his  full  height,  fluffed  his  feathers  like 
the  quills  of  a  porcupine  and  shouted  'Three  cheers  for  Jeff  Davis.' 

"McCarthy  had  printed  on  his  bills  the  words  of  Dixie  and  the  story 
of  his  life,  and  the  circumstances  surrounding  him  suggested  the  compo- 
sition. I  met  him  and  his  wife  in  1874  at  Navasota.  Te.xas,  and  he  died 
soon  afterwards.  No  one  ever  thought  of  robbing  Harry  McCarthy  of  the 
authorship  of  Dixie  in  those  days.  It  was  a  shrewd  advertising  dodge 
of  the  minstrel  company  after  poor  Harry  had  shuffled  off  this  mortal 
coil.  Emmett  was  no  more  the  author  of  Dixie  than  I  am,  and  I  am 
quite  sure  my  talent  never  run  in  that  channel. 

"The  authorship  should  not  be  left  in  doubt  as  it  seems  to  be  now. 
There  will  be  no  more  opportune  time  to  settle  it  than  right  now,  and  this 
may  call  the  attention  of  some  who  can  throw  light  on  the  question  of 
authorship.  J.   McD. 

Birmingham,  Ala. 


32  Daniel  Dccaiur  ILmmett, 

To  this  letter  the  writer  of  this  sketch  rephed  in  part  as 
follows : 

July  23,  1904. 

To   the  Editors  of  the  Baltimore  Sun  : 

"Through  the  kindness  of  a  friend,  a  copy  of  the  Sun  of  July  lltli 
is  before  me,  containing  a  communication  under  the  caption,  'The  Author 
of  Dixie.'  Permit  me  to  say  that  among  those  acquainted  with  the  late 
Daniel  D.  Emmett  and  disinterested  parties  who  visited  him  when  he  was 
living,  there  is  absolutely  no  question  in  regard  to  the  authorship  of 
the  famous  war  song  of  the  South. 

"Your  correspondent  claims  that  honor  for  an  Arkansan  by  the 
name  of  Harry  McCarthy  who,  it  is  stated,  published  the  words  on  his 
bills  when  he  was  traveling  with  a  bird  and  minstrel  show  through  the 
South  in  1862.  It  is  also  averred  that  while  McCarthy  lived,  or  to  be 
more  specific,  till  1874,  no  one  thought  of  questioning  his  authorship  of  the 
song.  These  are  sweeping  assertions,  but  details  are  conspicuously  absent 
and  little  effort  is  made  to  substantiate  the  claim  here  boldly  set  forth. 
Unfortunately  for  your  correspondent,  his  assertions  run  counter  to  facts 
and  the   records  of  the  copyright  office  at  Washington. 

"The  original  Dixie  was  composed  by  Daniel  D.  Emmett  in  1859. 
This  is  not  only  proven  by  his  own  statement,  in  which  a  detailed 
account  of  the  circumstances  under  which  it  was  written  is  given,  includ- 
ing the  place  where  it  was  first  sung,  but  it  is  also  substantiated  by  the 
testimony  of  numerous  contemporaries,  including  the  Bryant  Brothers, 
through  the  later  fifties  and  earlier  sixties  proprietors  of  The  Bryant 
Minstrels  at  470  Broadway,  New  York,  for  whom  the  song  was  first 
written  and  under  whose  auspices  it  was  presented  to  the  public. 

"The  song  was  first  published  in  New  York,  under  the  title,  /  wisk 
I  was  in  Dixie's  Land.  As  I  write  I  have  before  me  a  piece  of  sheet  music 
with  the  imprint  of  Firth,  Pond  &  Co.,  547  Broadway,  N.  Y.,  bearing 
this  title  and  the  copyright   date  of  1860. 

"The  song  was  afterward  brought  out  under  the  title  Dixie's  Land, 
by  Wm.  A.  Pond  &  Co.  successors  of  Firth,  Pond  &  Co.,  as  stated  by 
Emmett  and  substantiated  by  another  copyright  piece  of  music  on  my  desk> 
bearing  date  of  1865.  Under  this  title  the  words  and  music  have  been 
published  to  this  day.  The  present  publishers  are  Oliver  Ditson  &  Co., 
of  150  Tremont  St.,  Boston.  The  song  may  be  had  through  any  music 
dealer.  It  has  borne  Emmett's  name  for  forty-four  years,  as  will  be 
shown  by  the  records  of  the  copyright  office,  the  publishers  and  music 
dealers  throughout    the    United    States. 

"In  the  autumn  and  winter  of  1895.  Emmett  traveled  through  the 
South  with  Al.  G.  Field's  Minstrels  and  was  everywhere  recognized  as 
the  author  of  Dixie.  As  such  he  was  introduced  to  a  large  audience  in 
Na.shville,  by  the  late  General  John  B.  Gordon,  who  declared  that  he  was 


Author  of  "Dixie."  33 

without  question  entitled  to  that  distinction.  As  such  he  was  honored 
with  a  reception  by  the  daughters  of  Thomas  F.  Bayard,  ex- Secretary  of 
State  and  Ambassador  to  England.  Here  was  a  great  opportunity  for 
the  friends  of  McCarthy  to  put  forth  their  claim  while  Emmett  was 
living  and  able  to  speak  for  himself.  After  this  tour,  General  Gordon 
honored  the  aged  minstrel  with  a  personal  visit  at  his  humble  cottage  near 
Mt.  Vernon,  O. 

"This  is  not  the  first  time  that  a  question  has  been  raised  in  regard 
to  the  authorship  of  Dixie.  The  song  was  once  printed  by  P.  P.  Werlein, 
of  New  Orleans.  Emmett's  publishers  promptly  notified  him  that  he 
was  printing  one  of  their  copyright  pieces.  At  a  convention  of  music 
dealers  in  New  York,  the  claims  of  Emmett  were  presented  by  attorneys 
for  his  publishers  and  by  Emmett  himself.  So  overwhelming  was  the 
proof,  that  Werlein,  who  had  been  imposed  upon  by  a  pretended  author, 
ccme  forward  and  publicly  recognized  Emmett's  claim  to  original  author- 
ship. All  this  occurred  lefore  the  Arkansan  McCarthy  had  taught  the 
cockatoo  in  his  bird  show  to  shout  'Three  cheers  for  Jefif  Davis.'  " 

If  it  were  necessary,  much  additional  evidence  could  be 
submitted  in  support  of  Emmett's  claim  to  authorship.  Col.  T. 
Allston  Brown,  veteran  dramatic  agent  and  author  of  "A  His- 
tory of  the  New  York  Stage,"  who  was  well  acquainted  with 
Emmett  when  he  composed  Dixie,  is  still  living  in  New  York- 
City.  In  a  letter  of  August  5,  1904.  he  gives  in  detail  the  cir- 
cumstances under  which  the  song  was  written,  substantially  as 
they  have  been  related.  The  Oliver  Ditson  Co.,  who  at  present 
publish  it,  in  a  letter  of  July  8,   1904.  sa}- : 

"Dixie  is  about  the  only  composition  we  have  of  Emmett's.  This 
was  first  copyrighted  in   I860."' 

The  chief  of  the  music  division  of  the  Library  of  Congress, 
under  date  of  July  22,  1904,  forwards  the  following  memoran- 
dum : 

"Dixie  by  D.  Emmett.  Transcript  of  title  page  to  earliest  edition  in 
the    Library    of    Congress : 

I    wish   I    was   in   Dixie's    Land.     Written    and   composed    expressly 
for  Bryant's  Minstrels  by  Dan  D.  Emmett.     Arranged  for  the  Pianoforte 
by  W.  L.  Hobbs.     New  York :     Published  by  Firth,  Pond  &  Co.     Entered, 
according  to  act  of  Congress  A.  D.   1860  by  Firth,  Pond  &  Co. 

Also  copyrighted  1888  by  heirs  of  D.  Emmett  and  1898  by  Oliver 
Ditson  Co.     The  caption   title  reads  "Dixie's  Land." 


34 


Daniel  Decatur  Emmett, 


AT    THE    ACE    OF    EICHTV    YIvARS. 

DANIEL  DHCATUR  EMMETT. 


.liitlun-   of   "Pixie."  35 

The  Register  of  Copyrights,  under  date  of  August  20,  1904, 
writes : 

"The  earliest  entry  of  the  musical  composition  Dixie  appears  to  be 
by  Firth,  Pond  &  Co.,  June  21,  18ti0.  under  the  title  "/  wish  I  ivas  in 
Dixie's  Land,  written  and  composed  expressly  for  Bryant's  Minstrels  by 
Dan.  D.  Emmett."' 

W'm.  M.  Koons,  Esq.,  of  Mt.  Vernon,  O.,  chairman  of  the 
local  committee  appointed  to  raise  funds  for  the  erection  of  a 
monument  to  Emmett.  recently  wrote  Wm.  A.  Pond  &  Co.,  of 
New  York,  successors  to  Firth,  Pond  &  Co..  in  regard  to  the 
authorship  of  the  song.  The  firm  replied,  enclosing  a  copy  of  the 
contract  by  which  the  author  of  Dixie  transferred  his  copyright. 
As  will  be  seen  the  consideration  is  omitted.  Emmett  said  that  it 
was  $500.     The  copy  reads  as  follows : 

"To  all  to  whom  these  presents  shall  come,  I,  Daniel  D.  Emmett, 
send  greeting : 

"Where.vs.  I  am  the  author  and  composer  of  the  words  and  the 
music  of  a  certain  musical  composition  known  as  "I  wish  I  was  in 
Dixie's  Land,"  or  "Dixie's  Land," 

"Now,  know  ye  that  I  the  said  Daniel  D.  Emmett  have  granted, 
assigned,  transferred,  set  over  and  I  do  hereby  grant,  assign,  transfer 
and  set  over  unto  Firth,  Pond  &  Co.,  partners,  the  sole  and  exclusive 
right  and  liability  to  print,  reprint,  publish  and  vend  the  said  musical 
composition ; 

"To  have  and  to  hold  sad  rights  and  liability  hereby  granted  to  the 
said  Firth,  Pond  &  Co.,  their  executors,  administrators  and  assigns,  for 
and  during  the  whole  period  of  the  continuance  of  said  rights   (together 

with  any  right  of  renewal  thereof)  in  consideration  of  the  sum  of  $ , 

to  me  in  hand  paid  by  the  said  Firth,  Pond  &  Co.,  the  receipt  of  which  I 
hereby  acknowledge,  February  11,  1861,  in  the  city  of  New  York,  the  state 
of  New  York. 

"Signed,  sealed  and  delivered  this  11th  day  of  February,  1861,  in 
our  presence.  Daniel   D.  Emmett." 

Witness : 

Geo.  H.  \V.  Bird. 
Hexkv  W.  Pond. 

Xot  only  was  Emmett  recognized  as  the  author  of  Dixie  in 
his  tour  through   the   South,  but  the  press  of  that  section   has 


36  Daniel  Decatur  Einniett, 

long  regarded  him  as  such.  In  the  Confederate  Veteran  for 
September,  1895/  is  a  full  page  facsimile  letter  from  him,  a 
half-tone  reproduction,  music  and  words,  of  a  manuscript  copy 
of  Dixie,  and  an  appreciative  sketch  by  the  editor,  S.  A.  Cun- 
ningham, who  had  visited  the  author  at  Mt.  Vernon. 

Rival  claimants  have  not  gotten  beyond  the  limits  of  vague 
reminiscences ;  Emmett's  title  is  proven  by  contemporaneous  tes- 
timony and  the  official  records  at   Washington. 


*  See  also  the  issue  for  December,   1894. 


Author  of  "Dixie."  37 


OTHER  DIXIE  SONGS. 

As  already  stated,  many  songs  have  been  composed  and 
sung  to  the  music  of  Dixie.  The  familiar  words  of  General 
Albert  Pike  are  full  of  Southern  fire.  They  first  appeared  in 
The  Matches  Courier,  April  30,  1861,  and  are  here  reproduced 
in  full: 

Southrons,   hear   your    country   call   you ! 
Up,  lest  worse  than  death  befall  you ! 

To  arms !     To  arms !     To  arms,  in  Dixie. 
Lo !  all  the  beacon  fires  are  lighted. 
Let  all   hearts   be  now   united ! 

To  arms !     To  arms !     To  arms,  in  Dixie. 


Advance   the  flag  of   Dixie !   Hurrah !   Hurrah ! 

For  Dixie's  land  we  take  our  stand,  and  live  and  die  for  Dixie ! 

To  arms !   To   arms !   And  conquer  peace   for   Dixie ! 

To   arms !   To   arms !    And  conquer  peace   for   Dixie ! 

Hear  the   Northern  thunders  mutter! 
Northern  flags  in  South  winds  flutter ! 

To  arms,  etc. 
Send  them  back   your  fierce  defiance  1 
Stamp   upon  the  accursed  alliance ! 

To  arms,  etc. 

Fear  no  danger !     Shun  no  labor ! 
Lift  up  rifle,   pike  and   sabre ! 

To  arms,  etc. 
Shoulder  pressing  close  to  shoulder, 
Let  the  odds  make  each  heart  bolder! 

To  arms,  etc. 

How  the  South's  great  heart  rejoices, 
At   your   cannons'   ringing   voices ! 

To  arms,  etc. 
For    faith    betrayed,    and    pledges    broken. 
Wrongs    inflicted,    insults    spoken. 

To  arms,  etc. 

Strong  as  lions,   swift   as   eagles. 
Back   to   their  kennels   hunt   these  beagles! 
To  arms,  etc. 


38  Daniel  Deem' 11  r  liinDietf, 

Cut    the   unequal    bonds    asunder ! 
Let   them   hence   each   other  pkmder ! 
To  arms,  etc. 

Swear   upon   your   country's    altar 
Never  to   submit  or    falter ! 

To  arms,  etc. 
Till  the  spoilers  are   defeated, 
Till  the  Lord's  work  is  completed. 

To  arms,  etc. 

Halt  not    till    our    Federation 

Secures    from    earth's    powers    its    station  1 

To  arms.  etc. 
Then  at  peace,  and  crowned  with  glory, 
Hear  your  children  tell  the  story ! 

To  arms.  etc. 

If  the  loved  ones  weep  in  sadness, 
Victory  soon  will  bring  them  gladness. 

To  arms.  etc. 
Exultant  pride  soon  banish  sorrow  ; 
Smiles  chase  tears  away  tomorrow. 

To  arms,  etc. 

Positive  proof  is  now  at  hand  that  at  an  earlier  date  Em- 
mett's  melody,  with  his  approval,  had  been  used  with  a  Union 
song,  words  by  Frances  J.  Crosby.^  entitled  "Dixie  for  the  Union." 
It  was  written  after  the  evacuation  of  Ft.  Moultrie  and  before 
the  fall  of  Ft.  Sumter.     Here  are  the  first  two  stanzas : 

On !  ye  patriots  to  the  battle, 

Hear  Fort  Moultrie's  cannon   rattle ! 

Then  away,  then  away,  then  away  to  the  fight ! 

Go    meet   those    Southern    traitors. 

With  iron  will. 

And  should  your  courage  falter,  boys. 

Remember  Bunker  Hill. 

Hurrah!     Hurrah!     The   Stars  and   Stripes  forever! 

Hurrah  !     Hurrah  !     Our  Union  shall  not  sever  ! 

As  our  fathers  crushed   oppression. 
Deal   with   those   who   breathe   Secession ; 
Then  away,  then  away,  then  away  to  the  fight ! 
Though   Beauregard   and  Wigfall 


*  Fanny  Crosby,  the  famous  blind  hymn  writer,  is  still  living  at  the 
age   of   eighty-four  years. 


Author   of   "Pixie."  39 

Their    swords   may    whet, 
Just    tell   them    Major   Anderson 
Has  not  surrendered  yet. 
Hurrah !      Hurrah !     etc. 

A  Sotithern  man.  writing  for  the  Baltimore  Sun  of  July  20, 
1904.  while  admitting:  that  Emmett  wrote  the  orig-inal  Dixie, 
still  claini.'^  that  Harry  McCarthy  was  author  of  the  words  sung 
by  the  Confederate  armies.  From  these  he  quotes  a  stanza  which 
is  only  an  awkward  adaptation  of  Emmett's  verse : 

Old  Tennessee  has   not  forgotten 

Her  good  old  friends   in   the   land  of  cotton. 

Look  away !     Look  away !     Oh,  I  wish  I  was  in  Dixie ! 

In    Dixie's    Land    I'll   take   my   stand 

To   live  and  die  in  Dixie 

Away !     Away !     Away  down   south  in  Dixie. 

Another  song  set  to  the  tune  of  Dixie  and  called  "The  Star 
of  the  \^'est."  appeared  in  The  Charleston  Mercury  early  in  1861. 
The  first  stanza,  with  the  exception  of  the  chorus,  was  almost 
identical  with  the  corresponding  part  of  Emmett's  production. 
The  last  stanza  ran  as  follows : 

Dat   rocket   high   a-blazin'  in   de  sky, 

Tis  de  sign  dat  de  snobbies  am  comin'  up  nigh  — 

Look  away,  look  away,  lads  in  gray ! 
Dey  bin  braggin'   long,   if  we   dare  to  shoot  a  shot, 
Dey  comin'  up  strong  and  dey'll  send  us  all  to  pot. 

Fire  away,  fire  away,  lads  in  gray. 

Chorus  :     Den   I  wish  I  was  in  Dixie,  etc. 

We  quote  also  the  first  stanza  of  another  variation,  said  to 
have  been  very  popular  witii  the  Confederate  soldiers : 

Away  down  South  in  de  fields  of  cotton 
Cinnamon  seed,  and  sandy  bottom ! 

Look  away,  look  away,  look  away,  look  awa>. 
Den  'way  down  South  in  de  fields  of  cotton. 
Vinegar  shoes  and  paper  stockings 

Look  away.  look  away,  look  away,  look  away. 


40  Daniel  Decatur  Enimett, 


Den  I  wish  I  was  in  Dixie's  Land,  Oh-oh !  Oh-oh ! 

In   Dixie's   Land   I'll   take   my  stand, 

And  live  and  die  in  Dixie's  Land, 

Away,  away,  away,  away  down  South  in  Dixie. 

General  Pike  probably  saw  Miss  Crosby's  song  before  he 
wrote  his  own.  None  of  those  who  copied  Emmett's  metrical 
formula  got  very  far  from  his  chorus.  They  retain  it  wholly 
or  in  part.  The  line  "Cinnamon  seed  and  sandy  bottom"  occurs 
in  the  early  Emmett  manuscript  reproduced  in  the  Confederate 
Veteran. 

The  following  verses  were  written  by  Emmett  and  sung 
to  the  music  of  his  popular  composition,  /  amt  got  time  to  tarry. 

I'M  GOING  HOME  TO  DIXIE. 

There  is  a  land  where  cotton  grows, 
A  land  where  milk  and  honey  flows. 

Chorus  : 

For   I'm   going   home   to   Dixie, 

Yes,  I'm  going  home. 
I've  got  no  time  to  tarry,  I've  got  no  time  to  stay, 
'Tis  a  rocky  road  to  travel  to  Dixie  far  away. 

I  will  climb  up  the  highest  hill 

And  sing  your  praise   with  right  good  will. 

I've  wandered  far  both  to  and  fro, 
But   Dixie's   heaven   here  below. 

In   Dixie's   land   the  fields   do  bloom 
And  colored  men  have  welcome   room. 

I  will  proclaim  it  loud  and  long, 

I   love   old   Dixie,    right   or   wrong! 

In  the  concluding  stanza  of  Johnny  Roach,  he  expresses  sim- 
ilar sentiment: 

Gib   me    de   place   called    Dixie    Land, 
Wid  hoe  and  shubble  in  my  hand, 
Where  fiddles  ring  and  banjos  play; 
I'd  dance  all  night  and  work  all  day. 


Author  of  "Dixie."  41 

SELECTIONS  THAT  HAVE  APPEARED  IN  PRINT. 
BILLY  PATTERSON.' 

BY    DANIEL    D.    EMMETT. 

Dar  was  an  old  nig  got  hit  wid  a  brick ; 

Oh-h-h-h,  Billy  Patterson. 
He  wasn't  knocked  down  kaze  his  head  too  thick; 

Don't   you   tell   me,    don't   you   tell   me. 
De  first  ting  he  said  when  he  was  come  to, 

Oh-h-h-h,    Billy   Patterson, 
"O,   don't   hit   again   for   I   tink  dat'l   do," 

Don't  ye  tell  me,  don't  ye  tell  me. 

Chorus  : 

Bill    Patterson    rode    by  — 
"Old   Bill   your  boss   will   die." 
"He   dies   I'll   tan   his   skin, 
He    libs    I'll   ride   agin ! 
I'll  give  ten  dollars  down,  an'  leab  'em  in  my  will. 
If  any  one  can  show  de  man  dat  ebber  struck  old  Bill." 

I  eat  up  de  goose  dat  raised  de  quill 
Dat   wrote  the  question  ob  who  struck  Bill. 
I  work  at  kiln  whar  de  brick  was  burnt. 
But  who  throw'd  de  brick  was  nebber  learnt. 

I  knows  of  a  boy  dat's  up  to  fun. 
He  can  tell  who  struck  Bill  Patterson ; 
But  take  my  word  he  will  nebber  tell, 
Unless   somebody   will   pay  him   well. 

Dar's  one  ting  sartin  an'  plain  for  to  see, 
'Twas  neider  Heenan  nor  Morrissey ; 
Dey  both  told  me  (or  else  I'm  a  liar) 
De  chap  struck  Bill  was  old  Tom  Hyer. 

If  ebber  you  gets  to  de  Fiddler's  Green, 
A  labelled  nigger  can  be  seen, 
Wid  letters  so  big  dat  dey  weighs  a  ton, 
"I'm  de  child  dat  struck  Bill  Patterson." 


>  The  origin  of  the  familiar  question,  "Who  struck  Billy  Patterson?"  was 
seriously  discussed  about  the  time  this  song  was  written.  Walsh,  in  his 
"Handy-book  of  Literary  Curiosities,"  says:  "Not  only  is  the  name  of  Billy  Pat- 
terson's assailant  veiled  in  night,  but  Billy  Patterson  himself  is  one  of  the  great 
myths    of    American    history." 


42  Daniel  Decatur  Eunnett. 

Money  in  de  pocket  shining  bright, 
Old   Bill  got  struck  on   Saturday  night. 
De  lightnin'   flash   an'   he  seen  seben   stars, 
He  tink  he  was  struck  wid  de  bullgine  cars. 
1859. 


BAR'S   A   DARKEY   IN   DE  TENT. 

Dar's  a  darkey  in  de  tent,  keep  'im  in,  keep  'im  in,  keep  'im  in. 

But   he   hasn't   paid    de   rent,    kick   'im   out,    kick   'im   out,   kick   'im    out. 

CHORUS : 

Den,    wide   awake 
Bake  dat  cake. 
Den  kick  up  a  chunk  and  put  out  de  light,  an'  go  home  wid  de  galls  in 
de  morning. 

Den,    wide    awake 
Bake  dat  cake, 
Den  kick  up  a  chunk  an'  put  out  de  light, 
We'll    sing   dis   song   an'    dance   all   night. 
1860. 


MAC  WILL  WIN  THE  UNION  BACK. 

Mid   cheers   that  rend   the  air, 
Mac's   soldiers   now   prepare. 
In    Presidential    chair 
Their  gallant  chief  to  bear. 
In  all    his  fame  they  share, 
Red,   white  and  blue  they   wear ; 
Disunion  to  its  lair 
To   drive   is    aye   their   care. 


Then  cry  hurrah,  hurrah  for  little  Mac, 
For  he's  the  boy  to  win  the  Union  back. 
And  sail  the  ship  of  state  on  safer  track. 
Hurrah,  hurrah  for  little   Mac ! 


18(34. 


HLRE  WE  ARE  OR  CROSS  OBER  JORDAN. 

I'll  sail  de  worl'  clar  roun'  an'  roun', 
All  by  de  railroad  under  groun'. 


'  General    George    B.    ^^cClcllan. 


Antlior   of    "'/^/.ru'."'  43 

CHORUS  : 

We'll  all  cross  ober  Jordan,  we'll  land  on  tudder  shore, 
Den  make  room  in  de  flat-boat  for  one  darkey  more; 
For  Egypt's  in  de  garden  a  kickin'  up  a  row, 
Ho  boys,  ho  boys !  who  can  find  us  now. 

When  I   get   home  I'll  hab  a   spree, 
Den   leff   dis    worl'    and   climb  a   tree. 

Old    Massa    Linkuni    split    a    rail, 

An'  de   Union   clar  from   head   to   tail. 

He's   got    his    eyes   on    'sixty-four, 
Bekase  he's   Union   to   de   core. 

Remember   Grant,   but   don't   forget 
Dat  little  Mac  am  not  dead  yet. 


1863. 


STRIKING    ILE. 

The  world  it  revolves  on  its  own  axle-tree. 
Once  in   twenty-four  hours,   says   G.   O.   Graffee ; 
The   axle  got  hot   and  the   world  stopt  awhile 
And   the   people   have   all   gone   to  "boring    for   ile." 


Never   strike   ile !     Never    strike    ile ! 

People  get  looney :  run  mad  for  a  while ; 

They'll  bore  thro'  to  China,  before  they  "strike  ile!" 

There's  lawyers  and  doctors,  and   men  of  all  grades, 
Men  that  live  by  their  wits,  and  men   that  have  trades; 
Thro'  old   Pennsylvania,  they've   trudg'd   many  a  mile, 
With  their  forty  foot  auger,  they're  going  to  "strike  He!' 

Maximilian  in  Mexico  has  a  hard  time. 
His  pockets  are  empty,  he's  not  worth  a   dime; 
There's  no  blood  in  turnips :  he'll  not  make  a  pile, 
If  he  lives  till  he  dies,  he  will  never  "strike  He!" 

John  Bull   in  his  dotage  has  smelled  a  big  rat, 
He'd  rather  meet  Satan,  than  one  Democrat : 
There's  a  doctrine  called  Monroe  will  stir  up  his  bile. 
He  mav  run  the  blockade,  but  he'll  never  "strike  ile!" 


44  j)aiilcl  Dccaiiir  Jinniictf. 

Napoleon  the  little  has  lately  grown  thin, 
He's   troubled  with  nightmare  and   "Duke   Dr.   Gwin"  ;' 
We've  a  small  bill  against  him:  Abe's  got  it  on  Ale! 
Then  to  balance  his  ledger  —  he'll  have  to  "strike  He!" 

Jeff  Davis   in   Richmond   don't  get   along  well ; 
"His   Southern   Confederacy's  nought  but  a   shell ;" 
Let  him  brag  and  eat  fire  in  true  Southern  style, 
He  may  dig  his  "last  ditch"  —  but  he'll   never  "strike   He!" 
1865. 

THAT   CAT   AND   THE   DOG    FIGHT. 

In  the  Nezv  York  Clipper  for  September  28,  1872.  under 
the  above  caption,  was  conchided  a  controversy  over  the  author- 
ship of  a  song  entitled  "Cat  Doggercll."  published  in  that  paper 
July  13,  of  the  same  year.  It  appears  that  a  Mr.  Stewart  claimed 
that  he  had  written  the  song  in  1870.  Emmett,  after  submitting 
a  number  of  affidavits  to  prove  that  he  had  written  it  for  Robert 
Lindley,  a  banjo  player,  in  1867,  brought  the  dispute  to  a  close 
in  the  following  characteristic  statement : 

"Now,  Mr.  Editor,  after  all  this  parade  about  a  piece  of  nonsense 
(of  which  I  am  heartily  ashamed),  I  wish  it  distinctly  understood  that  I 
do  not  charge  Mr.  Stewart  with  appropriating  my  verses.  That  similar 
ideas  and  language  could  be  used  and  be  perfectly  original  with  two 
"poicks",  is  not  at  all  uncommon.  That  I  have  proven  my  authorship  in 
'67  he  must  admit,  as  I  am  willing  to  acknowledge  that  he  originated  his 
version  in  '70  as  he  has  sworn  to.  I  also  make  this  confession,  that  I 
stand  convicted  of  appropriating  another  man's  ideas  two  years  before 
he  originated  them.  To  conclude,  nothing  that  can  be  said  hereafter  will 
ever  induce  me  to  continue  this  controversy,  as  "/  give  it  up"  from  this 
date.  Respectfully  yours. 

Dan.   D.   Emmett." 

NEGRO  SERMON. 

BY    D.^N.    EMMETT. 

Bredren,  de  text  am  foun'  in  de  inside  ob  Job  whar  Paul  draw'd 
him  pistol  on  'Feesians,  lebenteenth  chapter,  an'  no  'ticklar  verse:  "Bressed 
am  dcvi  dat  'spccts  nuttin'.  kaac  dry  aint  ,iiz>.'i)ie  to  }^it  niittin' !" 


'  William  McKendree  Gwin,  U.  S.  Senator  from  California,  1849 
to  the  breaking  out  of  the  war ;  accused  of  disloyalty  and  imprisoned 
till  1863;  planned  to  establish  a  Confederate  colony  in  Sonora.  Mexico, 
under  Maximilian. 


.Iitthor   of   "Pixie."  45. 

VV'e  am  told  dat  Adam  was  de  firs  man  an'  Ebe  was  de  tudder; 
dey  was  boaf  brack  men,  an'  so  was  Cain  an'  Abel.  Dar  am  a  mistake 
in  de  printer,  for  some  udder  man  made  ole  Missus  Adam,  an'  set  her  up 
again  de  barn  to  dry;  an'  now,  my  frens,  who  built  dat  barn?  (Ha!  ha! 
ha!)  Bredren,  de  debble  am  now  in  Baltimoa  —  he  hab  a  notion  ob 
comin'  to  Fillamadelfy  —  now  he  on  de  carrs — now  he  in  Jarsy  City  — 
now  he  in  New  Vawk  —  he  in  hear !  dat's  him  —  dat  dar  white  man 
settin'    in   de   corner   laffin ! 

***** 

Now,  we  be  got  to  lassly :  I  sees  a  great  many  heah  dis  ebenin 
dat  cares  no  moa  what  'comes  ob  darr  souls  dan  I  does  myseff.  Suppose, 
frinstance,  dat  yoa  eat  yoa  full  ob  possam  fat  an'  hominy;  yoa  go  to  bed, 
an'  in  de  mornin  yoa  wake  up  an'  find  youseff  dead !  Whar  yoa  speck 
yoa  gwine  to?  Yoa  keep  gwine  down,  down,  down,  till  de  bottam  falls 
out!  What  'comes  ob  ye  den?  You  see  de  debble  comein  down  de  hill 
on  a  rasslejack,  wid  a  ear  like  a  backer  leaf  an'  a  tail  like  a  cornstalk; 
out  ob  he  mouff  comes  pitchforks  an'  lightnin,  an'  him  tail  smoke  like  a 
tar  kill !  Whar  is  you  now  ?  No  time  for  'pentin ;  de  debble  kotch  ye, 
shoa !  but  bress  de  lam,  he  habn't  kotch  dis  child  yet !  What's  gwine  to 
'come  ob  ye  on  de  great  gittin-up-day?  Maby  yoa  link  you  hold  on  to 
my  coat-tail;  but  I'm  gwine  to  fool  yoa  bad  on  dat  'casion,  kaze  I'm 
gwine  to  wear  my  coon-skin  jacket!  Yoa  crawl  up  de  hill  on  yoa  bans 
an'  nees,  yoa  fall  down  again,  wallup !  den  yoa's  call'd  a  backslider.  Dar's 
de  brimstone,  de  grindstone,  de  millstone,  de  blue  stone,  an'  eb'ry  udder 
kind  o'  stone  de  dcbble's  got  to  tie  'roun  yoa  neck,  to  sink  ye  in  de 
nebberlastin  gulf  ob  bottomless  ruin.  Yoa  call  for  a  cup  ob  cold  water 
an'  de  debble  say  "No  i"  *  *  *  Den  yoa  weep  an'  wail  an'  smash 
out  yoa  teef  out.     Den  wake  up,  sinners,  an'  let  de  daybroke  in  on  ye ! 

My  frens,  I  neider  preach  for  de  lob  ob  de  lam,  de  good  ob  yoa 
souls,  nor  de  fear  ob  de  debble;  but,  if  you  got  any  ole  shoe,  ole  coat, 
ole  hat,  jiss  pass  em  roun  dis  way,  an'  I'll  light  upon  'em  like  a  raccoon 
upon  a  green  cornstalk.  It's  no  use  passin  roun  de  plate  for  "Bressed  am 
deni  dat  'specks  nuttw,  kaze  dey  aitit  a  gwine  to  %it  nuttin!"  —  From 
The  (Nezv  York)  Clipper. 


46  Daniel  Decatur  Ennnctt, 

MANUSCRIPT  PAPERS. 

The  manuscript  papers  left  by  Emmett  furnish  indisputable 
evidence  of  the  fact  that  he  was  a  prolific  writer.  His  simple 
verse  embraces  almost  every  subject  from  Old  Dan  Tucker  to 
the  Life  of  Leans  Wetzel.  He  composed  readily,  sometimes  im- 
provising stanzas  on  the  stage.  The  greater  number  of  his 
poems,  if  such  they  may  be  called,  are  written  in  negro  dialect. 
Of  these  only  a  few  of  the  "walk-arounds"  seem  to  have  been 
published. 

While  abroad  he  studied  the  brogue  of  the  Emerald  Isle. 
Among  his  papers  are  a  number  of  songs  in  the  Irish  vernacular. 

Many  chapters  of  verse  are  devoted  to  the  valorous  deeds 
of  Wetzel  and  Colonel  Crawford.  In  his  later  years  he  read 
pioneer  history  with  avidity  and  recorded  his  impressions  in 
metrical  composition.  This  he  probably  did  as  a  pastime.  In 
an  introduction  to  one  of  his  narratives  he  apologizes  for  his 
limited  vocabulary  and  expresses  regret  that  his  educational  ad- 
vantages had  been  so  meager. 

Of  instrumental  music  he  left  many  volumes.  The  major 
portion  of  this  is  very  neatly  executed  with  the  quill,  which  he 
invariably  used  in  writing. 

His  productions  were  not  confined  to  verse  and  music.  In 
the  collection  are  a  number  of  plays,  including  "Hard  Times," 
written  in  1854.  The  dialogues  are  in  both  metrical  and  prose 
form,  interspersed  with  occasional  songs.  There  are  more  than 
a  score  of  negro  sermons.  A  small  brown  paper  wrapper  en- 
closed a  package  of  prayers,  carefully  written.  There  are  morn- 
ing prayers,  "graces"  for  his  daily  bread,  and  thanks  to  be  ren- 
dered on  retiring  at  day's  decline. 

If  his  dialect  songs  or  the  careless  reports  of  newspaper 
correspondents  have  led  any  to  think  that  Emmett  was  a  dunce 
or  a  buffoon,  an  examination  of  his  writings  will  correct  the 
erroneous  impression.  One  of  the  most  interesting  of  the  man- 
uscript books  is  the  volume  of  "Walk  Arounds."  On  the  first 
page,  written  in  pencil  without  an  erasure,  under  the  head  of 
"Remarks,"  evidently  intended  as  the  first  draft  of  a  ])reface, 
is  the  following: 


Author  of  "Dixie."  47 

These  "Walk  'Rounds"  were  composed  during  the  period  from  1859- 
1868.  Most  of  them  were  first  put  upon  the  stage  of  the  celebrated  "Bry- 
ant Minstrels"  in  New  York,  and  for  whom,  in  fact  most  of  them  were 
composed,  while  the  author  was  a  member  of  that  organization ;  and  the 
immense  popularity  they  attained  (the  W.  R.)  was  in  a  great  measure 
due  to  the  effective  manner  in  which  the  "Bryants"  produced  them. 

In  the  composition  of  a  "Walk  'Round",  (by  this  I  mean  the  style 
of  music  and  character  of  the  words),  I  have  always  strictly  confined 
myself  to  the  habits  and  crude  ideas  of  the  slaves  of  the  South.  Their 
knowledge  of  the  world  at  large  was  very  limited,  often  not  extending  be- 
yond the  bounds  of  the  next  plantation ;  they  could  sing  of  nothing  but 
everyday  life  or  occurrences,  and  the  scenes  by  which  they  were  sur- 
rounded. This  being  the  undeniable  fact,  to  be  true  to  the  negro  pecu- 
liarities  of  song,  I   have  written  in   accordance. 

Daniel  Decatur  Emmett. 

One  of  his  earliest  volumes  of  instrumental  music,  evidently 
prepared  with  a  view  to  publication,  is  "Emmett's  Standard 
Drummer."  The  title  page,  neatly  lettered  in  the  author's  own 
hand,  is  as  follows : 

EMMETT'S 

STANDARD   DRUMMER. 

Being  the  regular   School   for  the  U.  S.   Army,  containing  all   the  beats 
and    routine    duty    for    the 

Drum  and  Fife. 

According  to  the  "Ashworth  Mode". 

The    whole    rendered    plain    and    concise. 

BY 

D.^NiEL  D.   Emmett. 

Following  this  is  the  preface  which  reveals  the  military 
record  of  the  author  and  explains  where  he  got  systematic  in- 
struction in  music.  It  is  here  presented  without  change  of  punc- 
tuation or  capitalization  : 

EMMETT'S    STANDARD    DRUMMER. 


With  the  public,  and  particularly  that  portion  for  whom  this  school 
is  intended,  I  deem  it  necessary  to  inform  them  by  what  authority  I 
claim  to  be  competent  to  issue  a  work  of  this  kind : 


48  Daniel  Decatur  Einmett, 

At  the  early  age  of  17,  I  enlisted  in  the  U.  S.  Army  as  a  fifer,  and 
was  stationed  at  Newport  Barracks,  Ky.,  the  then  school  of  practice  for 
the  western  department.  For  one  year,  or  more,  I  practiced  the  drum 
incessantly  under  the  tuition  of  the  renowned  John  J.  Clark,  (better 
known  as  "Juba"),  and  made  myself  master  of  the  "Duty"  and  every 
known  "side  beat"  then  in  use.  Being  transferred  to  the  6th  U.  S.  In- 
fantry, then  stationed  at  Jefferson  Barracks,  Mo.,  I  was  retained  as 
"leading  fifer"  until  discharged.  In  the  meantime  I  continued  my  drum 
practice,  which  was  then  taught  according  to  the  School  of  Ashworth. 
In  after  years  I  travelled  as  Small  Drummer  with  the  celebrated  Edward 
Kendall  while  he  was  leader  of  Spalding  and  Rogers'  Circus  Band.  I 
benefited  from  his  superior  qualifications  as  a  drummer,  and  with  the 
foregoing  experience,  I  humbly  submit  my  "Standard  Drummer"  to 
those   who   wish   to   become   adepts   in   the   art  of   drumming. 

The  Author. 

The  work  opens  with  concise  and  carefully  written  directions 
for  the  beginner.  The  language,  dignified  and  sincere  through- 
out, would  have  done  credit  to  the  cultured  instructor  of  that  day. 

Emmett  was  a  Democrat^  and  through  the  war  a  strong 
Union  man.  Among  his  efifects  was  found  a  song,  evidently 
written  soon  after  the  fall  of  Ft.   Sumter,  which  concludes  as 

follows : 

Then    on    to    Richmond !    forward    march ! 
Out  of  old  Jeff  we'll  take  the  starch ; 
We'll   sing   this   song,   and   take   things  cool, 
And  fight  for  freedom,  not  for  wool.^ 

Here  are  two  stanzas  and  chorus  from  the  song  in  which 
he  expresses  his  appreciation  of  General  Grant : 

U.  S.  G. 

BY   DANIEL   D.    EMMETT. 

I  suppose  you  have  heard  of  the  great  commander; 
He's  second  to  none  but   Alexander. 

Then  U.  S.  G.'s  the  man  for  me. 

Three  cheers  for  your  Uncle  Sam. 


'  A  few  years  before  his  death  he  said  in  answer  to  a  direct  question, 
"I  am  a  Democrat,  but  I  do  not  wear  a  collar. 

I'm    a    Democrat    bred 
And  a  Democrat  bawn. 
And  when  I  am  dead 
There's  a  Democrat  gawn." 

'  In  these  lines  he  gives  expression  to  his  Union  sentiments  and  his 
■opposition   to  fighting   for   the   colored  race. 


.  Iiithor   of   "Pixie."  49 

He  came  from  the  West   with  the  spangled  banner, 
A  mndsill  and  by  his  trade  a  tanner. 

Good-bye,  Chase,  you'll  lose  the  race, 

He  can  distance  Abraham. 

Chorus  : 

U.   stands   for  uncle,   U.   S.   for  Uncle   Sam, 

But  U.  S.  G. 
It  just   suits  me  or  any  other  man. 
He  dug  a  trench  at  Vicksburg,  and  sure  as  you're  alive 

He'll  dig  one  more 
Round  White-house  door  in  eighteen  sixty-five. 

Here's  a  health  to  the  pet  of  the  Yankee  nation. 
The  next  overseer  of  Sam's  plantation. 
Three  cheers  for  Grant  and  his  men  together. 
And  nine  for  his  sole  and  upper  —  leather. 
1864. 


OLD   DAN   TUCKER.i 

A  little  manuscript  book,  yellow  with  age  but  still  quite 
legible,  contains  some  of  his  earliest  writings.  The  following 
is  published  because  of  its  oddity  and  the  former  popularity  of 
the  tune.  It  is  without  doubt  the  original  as  composed  by  the 
boy  Emniett  over  seventy  years  ago.    One  stanza  is  omitted : 

OLD   DAN   TUCKER.' 

CO.MI'OSED    BY    OLD    DAN    EM  MIT. 

I  came  to  town  de  udder  night, 

I  hear  de  noise,  den  saw  de  sight, 

De    watchmen    dey    (was)    runnin'    roun', 

Cryin'    "Ole    Dan    Tucker's    come    to    town". 

Git  outen   de  way    (repeat) 

Git  outen  de  way,  Ole  Dan  Tucker, 

You's   too  late   to   come   to   your   supper. 


'  Henry  Russell,  the  famous  English  singer,  claims  to  have  composed 
this  air  at  Rochester,  N.  Y.,  about  the  year  1835.  He  says :  "It  was  quite 
by  accident  that,  playing  Old  Hundreth  very  fast,  I  produced  the  air  of 
Get  Out  o'  de  Way.  Ole  Dan  Tucker."  He  does  not  claim  to  have  com- 
posed the  words  and  there  is  evidence  that  his  reminiscence  in  regard  to 
the  air  is  not  to  be  relied  upon. 


50  Daniel  Decatur  liuiniett, 

Sheep  an'   hog  a   walkin'   in   de  pasiure, 
Sheep    says,    "hog   can't   you    go    faster?" 
Hush !  hush !  honey,  hear  de  wolf  growlin'. 
Ah,  ah,  de  Lawd,  bull  dog  growlin'. 
Git  outen  de  waj-,  etc. 

Here's   my   razor   in   good   order, 
Alagnum  bonum  —  jis  hab  bought  'er; 
Sheep   shell   oats,  an'    Tucker    shell   de   corn, 
I'll   shabe  ye  soon  as  de   water  gits  warm. 
Git  outen  de  way,  etc. 

Tucker    went    roun'    hickry    steeple, 
Dar  he  meet   some  colored  people, 
Some   was   black,   some  was   blacker, 
Some   was  de  color   ob  brown  tobackur. 
Git  outen  de  way,  etc. 

Jay  bird  in  de   martin's   nest, 
To  sabe  he  soul  he  got  no  rest. 
Ole  Tucker  in  de  foxe's  den. 
Out  come  de  young  ones  nine  or  ten. 
Git  outen  de  way,  etc. 

Tucker    on    de    wood   pile    can't   count    lebben, 
Put  'im  in  a  fedder  bed  goin'  to  hcbben ; 
His  nose  so  flat,  his  face  so  full, 
De  top  ob  his  head  like  a  bag  ob  wool. 
Git  outen  de  way,  etc. 

High-hold  on  de  holler  tree, 
He  poke  his  bill  in  for  to  see, 
De  lizard  cotch  'im  by  de  snout, 
He  call   for  Tucker  to  pull  'im  out 
Git  outen  de  way,  etc. 

I   went   to   (le   meetin'   de   udder   day 
To    hear    ole    Tucker    preach    and    pray; 
Dey  all  got  drunk,   but   me   alone, 
I  make  ole  Tucker  walk  jaw  bone. 
Git  outen  de  way,  etc. 


IRISH  SONGS. 
The    following-   selection.'^   are    from    Emmett's    Irish    50112:8. 
Onlv   The   Offish   Saiker   and   Pat  Roouey's  Ball  are   complete. 
So  far  as  c^iven,  they  are  copied  literally. 


' 


Author  of  "Dixie."  51 

EFFECTS  OF  THE  BROGUE. 

BY    D.    D.    EMMETT. 

Air :     Tatter  Jack   Welch. 

'Tis  plisint  to  hear  a  nice  bit  o'   the  brogue, 

For  Paddy  has  got  a  nate  wag  o'  the  tongue ; 
It   is  the   most   illigent   language   in   vogue, 
'Tis   swate   and  good   music   as   iver   was   sung. 

For  you  can  palaver 

A  girl  and  not  have  'er, 
And  court   her  all   night  and   nixt  day  if  ye   suit; 

Then  don't  be  a  fool, 

Spake  Irish  by  rule, 
'Tis  a  mark  of  good   manners  and  braiding  to  boot. 

I  come  to  thish  counthry  on  boord  of  a   ship. 
At  Liverpool   docks  we  laid  up  rather  long; 
The  captain  said,  "Paddy,  give  none  of  your  lip! 

I'll   sail  just  as  soon  as  the  wind  blows  up  strong." 

Then  I  got  on  me  knais, 

The  powers  to  plaise, 
'Twas  then  in  good  Irish  I  prayed  for   a  gale; 

My    language    was    nate, 

Neptune,  or  his  mate. 
Struck  up  a  fresh  breeze,  and  the  ship  it  made  sail.  * 

Then  nothing  did   happen   to  mar  our  delight,  < 

Till  one  afternoon   we  got  caught  in  a   fog; 
'Twas  lucky  the  fog  didn't  catch  us  at  night. 
The  captain  at  once  wrote  this  down  in  his  log. 

The    fog   and   the   mist 

All  your  strength  would  resist. 
Then  ivery  one  said :   "Paddy  make  us  a  prayer, 

Pray   in  Irish:   be   quick! 

Knale  where  the  fog's  thick !" 
To  plaise   'em,   I  prayed   till  the   fog  wasn't  there. 

The  rats  and  the  mice  were  as  thick  as  green  pais. 

And  divil  a  cat  was  on  boord  o'  the  craft ; 
We  fought  a  pitch'd  battle  with  bed  bugs  and  flais, 
Their    forces    united   and    drove   us  all    aft. 

We    couldn't    run    further 

Some    yell'd    "Bloody    murther !" 
Some   said,   "Have  compassion  upon  us  poor  souls !" 

I   praiched  to  the  vermin 

A   rale   Irish   sermon ; 
They  thought  me  St.  Pathrick  and  run  for  their  hoales. 


52  Daniel  Decatur  Emmett, 

Then   peace  was   reshtored,  and    the  sails   were  unfurled. 

Till   we  landed   in  York  on  the  ould  Batterree; 
It  is  the  wosht  place  yez  can  find  in  the  world  ! 
By  thish  recommind  I  don't  mane  flatterree. 

The  drivers  of  hacks 

Would  follow  yer  tracks 
And  taise  ye  to    death   for   to   take   a    short   ride ; 

They'll  get   on  yer   trail, 

No   prayers   can  avail ; 
Yer  glad  to  eshcape  wid  a  pace  o'  yer  hide ! 


WHEN  THISH  OULD  POIPE  WAS  NEW. 

COMPOSED    BY    DAN.    EMMETT,    FOR    HIS    JUVENILE    FRIEND,    MASTER    MCGEARSY. 

Air:     "Me   Irish   Molly   O." 

For  fifty  years,  some  more  or  less,  me  father  shmoked  thish  poipe 
'Twas  made  of  rale  ould  Irish  clay  —  'tis  mellow  and  'tis  roipe ; 
Altho'  the  shtem   is  broken,  yet  the  bowl   is  good   and  sound, 
Me  son  shall   shmoke  it  after   me,  when    I'm  laid   in   the  ground. 


It  comforts  me  in   summer's  heat,  likewise  through  winter's  could, 
I  niver  would  forsake  it,  were  it  twenty  times  as  ould; 
For  the   shmoke   that  curls  above  it,   tho'   the   whifis  they    be   but    few. 
Reminds   me   of   the    days,    me    boys,    when    thish   ould    poipe    was    new. 
Chicago,  Jan.  4,  1875. 


THE   OFFISH    SAIKER. 

BY    D.    D.    EMMETT. 

Air:     Candidate    for   Alderman. 

I   am   a   man   that's   made  a   name,   I'm   knownst   to   maisht   of  you, 

Me   home    is    in   a    lovely    shtrate   called    "Byler    Avenue!" 

Me  neighbors  all  do  shmile  on  me  as  I  go  'long  the  shtrate. 

The   girls    spake  low   as   I   pass   on  —  "O.   aint  he   moasht   too   shwate. 


Hooroo !  for  me,  for  thaives  an'  rogues. 
Must  know  their  time  has  come : 

We'll  give  them  all  for  their  reward  — 
"What    Paddy   gave   the   dhrum !" 


Author  of  "Dixie."  53 

For  an'   offish   I   have  waited   long  an'   shtood  out  in   the   frosht, 
I  tell   them   we  musht  have  reform,  or  elsh  the  city's  loshtl 
They  ask  me  for  to  tell  them  how  an  where  I  would  begin, 
I  say  —  "Turn   ivry  foiriner  out,   an'  put   the   Irish   in!" 

At  big  turnouts  ye'll  see  me  there  wid  a  banner  on  me  back, 
You'll   always   find  me  on  the   side   that's  got  the   biggest  "whack!" 
They  call  on  me  to  make  a  spaich  —  of  coorse  I  musht  comply  — 
"The  Irish  boys  have  got  their  claims  —  thish  no  man  can  deny!" 


PAT   ROONEY'S    BALL. 

BY    D.    D.    EMMETT. 

Air :     "As  to  Clonmel  we  go." 

Pat    Rooney    had    the    cash, 

But  wa'nt  the  man   to  lind   it ; 
Says    he :    "I'll    make    a    splash, 

'Twill   be  misel   will    spind  it; 
I'll  give  a   fanshy  ball  — 

O  yis!  I   will!  be  jabers! 
I'll   invite  one  an'   all. 

Both  strangers  an'  me  neighbers ! 
Yes  I  will." 

A  hall  he  did   engage. 

From   Jolly   Jack   the    rover ; 
The   ball    was    all    the    rage 

For  full   six  waiks  an'   over ; 
The   shtores   were   emptied   clane. 

The    merchants    caught    the    "crafters," 
For  nothing  did  remain 

From   the   flure  up   to   the    rafters. 
That's   the  troot. 

'Twas   Riley    from   Wicklow, 

That  played  upon  the  fiddle ; 
He    drawed    the    longest    bow. 

Clane  both   ways    from  the   middle: 
He  played  "Ould  Jack's  the  lad", 

A  chune  that's   famed  in  story, 
"The   fall   of   Ballanyfad". 

An'    "Geary    Owen   an'    glory." 
Yis  he  did! 


54  Daniel  Decatur  Emmett, 

They    danced    six    reels    or    moore, 

An'   niver  thought   of  flaggin; 
They   bounced   up    from   the    flure, 

Like  hind-whails    to  a   waggon ; 
'Twas   then   they    formed   a    ring 

To   dance,   "The   divil   sind  it ;" 
When    Riley    broke   a    string 

An'  had  to  shtop  to  mind  it. 
That's    bad    luck. 

Now    there    was    Biddy    Niel, 

Wid  coutage   moasht  undaunted, 
She    danced    the   "square-toed   reel" 

An'  danced   it  single  handed ; 
'Twas    hop,    skip    an'    jump. 

When    an'    accident    befel    'er, 
She    tript   an'    fell    ker  thump, 

An'   broke    clane   thro'    the    cellar, 
So    she    did. 

The  pigs  squailed  in  the  pen, 

You'd  thought  the  dead  had  risen; 
The    women    an'    the    men 

Cockt  up  their  ears  to  listen ; 
The  fiddler  —  shly  old  coon, 

Put  them  all   in  a  roar,  sir ; 
He'd   niver  heard  a   chune 

Wid  bristles  on  before,  sir. 
No   indade. 


Flure   manager  they  had 

Who   'round   the    room   kept   prancing; 
An'   what   was   moasht   too   bad  — 

He'd  no  "order  of  dancing." 
A    paisht   boord    he    did    wear, 

Pinned   to  his  boick  too  tightly;. 
The    figures    were    wrote    there, 

So   all    could    rade   them    rightly. 
Them    as     could. 

They  danced   till   broad  daylight, 
When  some  one  was  suggestin* 

To  wind   up  wid  a  fight 
An'  make   it   interestin' ; 


Author  of  "Pixie."  55 

But  they'd  have  none   o'    that  — 

An'  what  is  shtill  more  funny  — 
Some  rashcal   passhed  the  hat 

An'  shtole  the  fiddler's  money, 
The    auld    thief. 

Then    homewards    all    did    trudge, 

O,   how   they'd  brag  an'    swagger; 
Some  were  too  full   o'   "budge"  — 

So  full  it  made  them  shtagger; 
Some   shtrayed   off  an'  got  losht, 

Were    nabbed   but   got    no   bail,    sir; 
'Twas    ten    dollars    an'    cost, 

An'   twenty   days   in  jail,  sir, 
That's  too  bad! 


THE  CONNAUGHT   MAN. 

BY   D.   D.   EMMETT. 

Air :     Connaught  Man's  Ramble. 

I'm  somewhat  a  rover, — 

Have   travelled    all    over. 
Thro'    Victoria's    kingdom    that    shouldn't    be    hers; 

This  jolly  ould  crayter, 

This  lump  o'  good  nature, 
Is  Kind  to  the  poor,  and  it  often  occurs. 

But  time   it    works   wonders, 

And    cures    many    blunders. 
We  see  it  aich  day,  yet  our  life's  but  a  span; 

The  true  Irish  nation. 

Is  ould  as  creation, 
For  Adam  himself  was  the  first  Connaught  man. 

CHORUS : 

Just   take   the   world  aisy, 

They'll   call  yez  a  daisy. 
Be  true  to  your  friends  for  it  is  the  best  plan; 

Then    spend    your   last    shilling 

With   hearts   that   are  willing  — 
Is  a  rule  that  will  work  —  with  a  true  Connaught  man. 

But  "Soldier  and   glory," 

Is  an  ould  Irish  story  — 
You  fight  like  the  devil   for  somebody's  king; 

Just  when  you  begin  it 

Your  heart  is  not  in  it, 
For  fighting  is  not  "getting  girls  on  a  string." 


56  Daniel  Decatur  Eiiimett, 

Your   teeth  they  may   chatter. 

And  swords  flash  and  clatter, 
Your  comrades   may  fall  and  their   faces  you  scan; 

By  grief  you'r  o'erpowered, 

Yet  still  you'r  no  coward, 
You   carry  the  heart  of  a    true   Connaught  man. 


AULD   MRS.   MADIGAN'S  CAT. 

BY   D.   D.   EMMETT. 

Air:     Brannagan's    Pup. 

'Twas   ould  Mrs.   Madigan  owned  a   tom   cat, 

That  slept  on  the  fence  every  night ; 
His  hair  stood  on  end  like  a  war  Democrat, 

And  he  spiled   every  day  for  a  fight. 

CHORUS : 

He'd  climb  up  the  fence  and  hollow  "murriare" ; 

But  devil  an  answer  he'd  get, 
For  pussy  she  lay  by  the  hot  kitchen  fire, 

While  Tommy  stood  out  in  the  wet. 

Now  Tom  sent  a  challenge  to  every  yard. 

To  fight  at  catch  weight  for  the  cup ; 
But  his  name  was  a  terror  throughout  the   whole  ward, 

And  not  a  cat  dare  take  it  up ! 
He  climbed  to  the  top  of  a  liberty  pole. 

And  yelled :    "I'm  the   cock-o'-the-walk !" 
Then  the  neighboring  cats  crept  into  their  hole 

And  said,  "Hear  the  old  bully  talk." 

A  splinter   stuck   in  'im  just  close  to  his  hip, 

Where  the  hide  is  most  generally  thin ; 
He  turned   to  descend   when  he  heard   something  rip. 

He'd  pulled  himself  out  of  his  skin ! 
Every  night,  so  they  say,  when  the  weather   is  clear, 

Be  it  winter  or  hot   summer  time ; 
On  the  top  of  the  pole  his  skinned  ghost  will  appear, 

As  a  warning  to  cats  not  to  climb. 

chorus: 

No  more  on  the  fence  will  he  hollow  "murriare,'' 

Nor  try  for  an  answer  to  get; 
No  more  pussy  sleeps  by  the  hot  kitchen  fire, 

But  the  "ghost  it  still  walks"   in  the  wet! 


Author  of   "Dixie."  S7 

HARD  TIMES. 
The  title  page  of  liiis  "roaring"  farce  reads  thus: 

HARD  TIMES 
an  original 
ETHIOPIA!:  WALK-'ROUND, 
in  1   Act, 
by- 
Daniel  Decatur  Emmit., 
1855. 


CHARACTERS. 

Old  Dan  Tucker A  sufferer  by  the  hard  times,. 

Belzebub  The  Prince  of  Darkness. 

Gabe  Tucker One  of  the  brack  boys. 

Chummie  Companion  to  Gabe. 

Showman A  chap  that  won't  work. 

Old  Mrs.  Tucker,  A  law  expounder  and  one  that  sticks  to  her  rights. 

Only  a  brief  extract  from  the  opening  scene  is  here  given : 
Scene  ist.  —  Inside  of  Tucker's  house.     Poor  furniture  in 

appropriate   places.      Curtain  rises.     Enter   Old   Tucker  poorly 

dressed.    Advances  to  the  front. 

Tucker: 

Hard  times  !  hard  times !  an'  worse  a  comin'. 
Hard  times  thro'  my  old  head  keeps  runnin' ; 
I'll  cotch  de  nigger  make  dat  song. 
To  shake  him  well  would  not  be  'rong: 
I'd  shake  him  up  an'  shake  him  down, 
An'  shake  him  till  good  times  come  roun'. 
As  soap-suds  will  a  wash-board  trace, 
Salt  tears  roll  down  my  furrowed  face. 
If  some,  perchance,  should  ask  the  cause, 
'Tis  —  "tings  ain't  as  dey  used  to  was." 
My  banjo  hangs  against  de  wall. 
My  fiddle  will  not  play  at  'tall. 
Ob  him  dat's  rich  I  won't  be  jealous. 
For  don't  de  big  Book  'spressly  tell  us? 
1  For  some  reason  unknown,   Emmett  for  a  time  spelled  his  name  thus. 


58  Daniel  Decatur  Emmett, 

An'  tell  us,  too,  widout  much  fussin', 
Whedder  we're  white  or  color'd  pusson; 
"Bressed  am  dem  dat's  berry  poor  — 
Dey'l  nutin  git  —  dat's  berry  sure." 


WHOA!    BALLY! 

BY  DANIEL  D.   EMMETT. 

When  I  was  but  a  colt,  kept  in  a  stable, 

Now  I  am  growing  old,  whoa !   Bally ! 
To  drag  the  cart  and  plow,  I  was  not  able, 

I'm  turned  out  in  the  cold,  whoa !  Bally ! 
When  I  was  two  years  old,  'long  came  the  halter, 

Now  I  am  growing  old,  whoa  !    Bally ! 
Round  my  young  neck  was  tied  —  how  times  do  alter! 

I'm  turned  out  in  the  cold,  whoa !  Bally ! 

Chorus  : 

Crack  your  whip  and  pull  away, 
"Poor   old   boss"   has   seen   his   day. 

Whoa!  Bally!  whoa! 
When  you  can't  work  you'll  make  bologna. 

Three  legs  broke,  you  travel  slow, 

One  eye  out  and  tother  too. 
To   the   buzzards   let    'im   go !     Poor    old    Bally  \ 

Harnessed  when   I  was  three  —  drawing  my  master; 
"Two  forty"  on  the  track  —  none  could  go  faster; 
Ten  thousand  dollars  down  —  oft  have  I  won  it, 
Then  master  said  with  pride,  "Old  Bally  done  it !" 

Then  I  was  stuflfed  with  oats  —  fattened  on  clover ; 
Now  I  am  fed  with  straw  —  my  racing's  over. 
When  I  was  twelve  years  old  —  losing  my  bottom, 
Some   sport   to  master   said,   "Sell   him,   'od-rot-'im!" 

Thus  'tis  with  human  kind  —  ever  ungrateful. 
If  this  be  gratitude,  'tis  name  most  hateful. 
Now  I  am  twenty  past  —  can't  pull  or  carry. 
"Bally!"  the  buzzards  cry  —  "why  longer  tarry!" 

Good-bye  to  blankets  warm  —  good-bye  to  races ; 
Old  horses  must  give  out  —  colts  fill  their  places. 
Now  I'll  lie  down  and  die,  in  some  fence  corner. 
Come,  buzzards,  to  your  work !     Bally's  a  "goner." 


1868. 


Author   of   "Pixie."  59 

DEVOTIONAL. 
These  extracts  are  from  the  manuscript  collection  to  which 
reference  is  made  on  a  preceding  page : 

GRACE  AT  MEALS. 
Heavenly  Father:  I  desire  to  thank  Thee  for  this  frugal  meal,  and 
all  other  meals  Thou  hast  permitted  me  to  enjoy  during  my  past  exist- 
ence. I  pray  Thee  appropriate  it  to  my  good,  to  the  benefit  of  the 
health  and  strength  of  both  body  and  mind,  and  to  whatever  seemeth 
good   for  me   in   Thy   sight. 

FOR    DAILY    PRAYER. 

O  Lord  God  of  hosts,  who  reigneth  in  heaven  and  ruleth  this  earth 
and  the  universe,  grant,  I  beseech  Thee,  to  me  who  ask,  the  gift  of 
Thy  divine  love,  that  I  may  love  Thee  with  my  whole  heart,  both  in  word 
and  work,  and  never  cease  from   showing  forth  Thy  praise. 

Grant,  O  Heavenly  Father,  that  I  may  have  perpetual  fear  and 
love  of  Thy  holy  name.  *  *  *  Grant  that  Thy  praise  may  always 
be  in  my  mouth.  I  hope  in  Thy  infinite  goodness  and  mercy  and  I 
love  Thee   with  all   my  heart. 

Pour  down  Thy  blessings  upon  me,  should  I  prove  worthy  of 
them.  Bless  my  parents  and  relatives  that  lie  in  their  cold  and  silent 
graves.  Help  the  poor  and  the  sick  and  those  that  are  in  agony.  Con- 
vert the  unbelievers  and  enlighten  them  in  the  true  faith,  and  let  me  not 
waver    in  faith    in  Thee   and    Thy  promises. 

Heavenly  Father,  give  ear  to  Thy  supplicant,  that  in  Thy  bounty 
Thou  mayest   grant   me   both  pardon  and   peace. 

Show  forth  upon  me,  O  Lord,  in  Thy  mercy,  Thy  unspeakable 
loving  kindness;  that  Thou  mayest  loose  me  from  all  my  sins  and  deliver 
me  from  the  punishment  that  I  deserve  from  them.  Assist  my  weakness 
and  suffer  me  not  again  to  fall  into  my  past  sins  and  to  be  separated 
from  Thee.  As  the  hart  pantelh  after  the  fountains  of  water,  so  my 
soul  panteth  after  Thee,  O  God!  For  what  have  I  in  heaven?  and  besides 
Thee,  what  do  I  desire  on  earth?  O  my  God!  this  house  of  my  heart  is 
too  narrow  for  Thee!  Do  Thou  enlarge  it;  it  is  falling  to  ruin,  do 
Thou  repair  it;  it  has  been  defiled  by  sin;  I  pray  Thee  cleanse  and  purify 
it.  Let  Thy  tender  mercies  come  unto  me.  and  I  shall  live.  Let  my  soul' 
enjoy  the  sweetness  of  Thy  presence. 

AT  GOING  TO  BED. 
Almighty  God  and  Heavenly  Father,  bless  that  repose  I  am  about 
to  take  in  order  to  renew  my  strength  that  I  may  be  the  better  able  to 
serve  Thee.  O  all  ye  saints  and  angels,  intercede  for  me  this  night 
and  during  the  rest  of  my  life,  but  particularly  at  the  hour  of  my  death. 
Merciful  God,  I  beseech  Thee,  give  me  sweet  and  refreshing  sleep.  *  *  * 


■^  Daniel  Decatur  Emmett, 


"GENIUS  AND  PHILOSOPHER." 

Since  the  preparation  of  this  sketch  was  undertaken,  some 
one  has  intimated  that  one  of  its  purposes  would  be  to  show  that 
Emmett  was  a  "genius  and  a  philosopher."  It  would  be  super- 
fluous, in  conclusion,  to  enter  a  disclaimer.  This  brief  biography 
reaches  an  end  without  a  thought  of  flights  so  lofty. 

Emmett  could  not  claim  rank  with  cultured  composers  of 
his  own  land.  In  simple  pathos  he  was  surpassed  by  Payne 
and  Hanby  and  Foster.  But  in  one  respect  he  was  eminwit  — 
preeminent.  To  create  a  song  through  which  a  people  should 
express  their  aspirations  for  nationality  —  an  air  so  stirring, 
original  and  vital  that  it  should  survive  a  "lost  cause"  and  win 
the  plaudits  alike  of  vanquished  and  victor,  is  a  distinction 
that  comes  to  few  —  the  stamp  of  what  the  world  calls  genius. 

Philosopher?  What  is  a  philosopher?  The  term  is  applied 
to  the  metaphysician,  who  speculates  profoundly  about  the  begin- 
ning, purpose  and  end  of  all  things ;  to  the  man  of  worldly 
wisdom  who  penetrates  the  existing  order  and  walks  with  con- 
fidence straight  to  "success" ;  to  the  implacable  reformer  who 
tugs  at  the  world  and  at  times  tows  her  out  into  the  expanse 
of  the  broader  view.  Our  unpretentious  minstrel  belonged  to 
none  of  these.  He  did  not  take  himself  seriously.  He  left  not 
a  line  expressive  of  devotion  to  his  first,  last  and  greatest  love 
—  nature.  But  if  to  tread  life's  uneven  way  through  the  camps, 
the  music  halls,  the  circus  tents,  and  maintain  integrity  of  body 
and  mind  and  soul ;  if  to  labor  long  and  obscurely  for  the  love 
of  song  and  see  millions  moved  by  its  enchanting  spell;  if  to 
enrich  others  with  no  reward  to  self ;  if  to  meet  the  "slings  and 
arrows  of  outrageous  fortune"  with  a  smile  and  a  heart  free 
from  bitterness ;  if  to  accept  frugal  fare  with  a  thankful  spirit ; 
if  to  win  and  hold  the  respect  of  neighbors  by  kindly  word  and 
deed ;  if  to  walk  erect  under  the  weight  of  years  and  view  with 
joy  unexpressed  hazel  fringed  lane,  undulating  meadow,  wind- 
ing stream,  waving  woodland,  and  over  all  the  dome  of  blue 
with  its  message  of  peace  ;  —  if  this  is  philosophy,  Daniel  Decatur 
Emmett,   without  knowing  it,   was  something  of  a  philosopher. 


APPENDIX. 


Author  of  "Dixie. 


63 


LIST   OF   "WALK-AROUNDS." 

The  following  is  a  list  of  "walk-arounds,"  words  and  music 
by  Emmett,  arranged  in  order  of  composition: 


I  ain't  got  time  to  tarry. 

Nigger  in   de  tent. 

John  come  down  de  holler. 

Road    to    Georgia. 

Flat   foot   Jake. 

Billy  Patterson. 

Hai.  Johnny   Roach. 


Darrow   Warrow. 
Old  K.  Y.,  Ky. 

De  Back-log. 

Bress   old   Andy  Jackson. 


1859. 


1860. 


1862. 


1863. 


High  Daddy. 

Here  we  are.  or  cross  ober  Jor- 
dan. 
Greenbacks. 


Foot-falls   on   de  karpet. 
Whar  ye  been  so  long? 


Burr   Grass. 
Pan-cake  Joe. 
Want   any   shad? 
Sugar  in   de  ground. 


1864. 


1865. 


1868. 


1881. 


Loozyanna   low    grounds. 

I  wish   I  was  in  Dixie's    Land 

Johnny  Goolar. 

Chaw  roast  beef. 

What  o'   dat? 

Turkey   in  de  straw. 


De    Contrack. 


Mr.   Per  Coon. 
Black  Brigade. 

Goose  and  Gander. 
Ober   in  Jarsey. 

Jack  on   de  green. 
U.  S.  G. 


Whoa,   Bally! 
Yes  or  no. 
Abner   Isham    Still. 
I  am  free. 


15th  .\mendment. 


INDEX. 


Blower.   Frank,  !1.  11. 
Brown,  Col.  T.  .Mlston,  12. 
Bryant  Minstrels.  12,  47. 
Crosby,  Frances  J.,  writes  Dixie  for 

the  Union,  38. 
Delano,   Columbus,  8. 
Dixie,  see  Dixie's  Land. 
Dixie,  origin  of  the  word,  13. 
Dixie's  Land,  continued  popularity 
of,  4.  27,  30,  60 ;  words  and  music 
composed  by   Emmett,   12 :   why 
so  named,  13 ;  first  stanza  omit- 
ted,   13 ;    original    words,    14 ;   as 
published   at   present,    15;   varia- 
tions,    15,     16,     18;     manuscript 
copy,   16 ;  authorship  of,  19,  31- 
36;    circumstances   under    which 
it  became  the   war   song  of  the 
South,    20;    originality    of,    28; 
date   of   copyright,   33;    copy  of 
contract  conveying  right  to  pub- 
lish, 35 ;  original  title  page,  34. 
Dixie  songs,  other,  37-40. 
Emmett,  Abraham,  7. 
Emmett,   Daniel   Decatur,  home  of, 
7  ;  birth  and  ancestry.  7  ;  educa- 
tion, 8,   46;    learns   the  printing 
trade,  8:  with  Sherman  boys,  8; 
composed    Old   Dan    Tucker,   9, 
49;  army  service,  9,  48;  studies 
music,   9,   48;    travels    with    cir- 
cuses,  9;   originates   negro   min- 
strelsy,   9 ;    goes    with    minstrel 
troupe   to   British   Isles,   10;   re- 
turns to  America,  10 ;  composes 
Dixie's   Land,   12;    defends   title 
to  authorship  of  Dixie,  19 ;  criti- 
icised  for  writing  Dixie.  20 ;  goes 


to  Chicago,  21  ;  returns  to  .\Ii. 
Vernon.  21  ;  accompanies  the  Al. 
G.  Field  Minstrels.  22;  at  Rich- 
mond, 23 ;  introduced  at  Nash- 
ville by  Gen.  John  B.  Gordon, 
24 ;  entertained  at  Wilmington 
by  Bayard  family,  24 ;  at  Topeka, 
24 ;  last  appearance  on  the  stage, 
26 ;  a  visit  to,  26 ;  compositions, 
list  of,  27,  63;  originality  of  his 
melodies,  28 ;  death  and  funeral 
of,  29 ;  his  authorship  of  Dixie 
proven,  33,  34,  35 ;  politics  of, 
48 ;  "genius  and  philosopher,"  60. 

Emmett  family,  7,  8. 

Emmett,  John,  7. 

Emmett.  Lafayette,  8. 

Field,  Al.  G.,  first  meets  Emmett  in 
Chicago,  21 ;  tour  with.  22 :  de- 
scribes Emmett's  reception  in  the 
South,  24. 

Gordon,  Gen.  John  B..  introduces 
Emmett  at  Nashville,  24 ;  visits 
Emmett,  25. 

Hard  Times,  57. 

Hull,  Rev.  William  E.,  tribute  to 
Emmett,  29. 

I'm  Going  Home  to  Dixie.  40. 

/  JVisli  I  Was  in  Dixie's  Land,  see 
Dixie's  Land. 

Irish  songs,  50-56. 

Kester,   Paul,  aids   Emmett.  25. 

Koons,  Wm.  M.,  chairman  of  Em- 
mett monument  committee,  33. 

Lincoln.  Abraham,  heard  tune  of 
Dixie  in  1860,  19;  requests  band 
to  play  Dixie,  27. 


(65) 


66 


Index. 


McCarthy,     Harry,    claim    that    he 

wrote    Dixie,    31 ;    no    basis    for 

claim,  32. 
Manuscript  papers,  46-59. 
Mmstrelsy,  9. 
Old  Dan   Tucker,   when  composed, 

9 ;   popularity  of,  28 ;   words  of, 

49. 
Origin  of  negro  minstrelsy,  9. 

Pelham,  "Dick,"  9,  11. 

Pike,    General    Albert,    Dixie    song 

by,  37. 
Prose     selections     from     Emmett's 
writings : 
Introduction  to  "Walk-'Rounds," 

47. 
Negro  sermon,  44. 
Prayers,  59. 
Preface  to  "Standard  Drummer," 

47. 
"That  Cat  and  Dog  Fight,"  44. 
Russell,  Henry,  claims  to  have  orig- 
inated tune  of  Old  Dan  Tucker, 
49. 

Sherman,  John,  9. 
Sherman,  William  T.,  9. 


Songs  written  by  Emmett : 
Auld  Mrs.  Madigan's  Cat,  56. 
Billy  Patterson,  41. 
Connaught  Man,  The,  55. 
Dixie's  Land,  14-19. 
Effects  of  the  Brogue,  51. 
Here  we  Are  or  Cross  Obcr  Jor- 
dan, 42. 
I'm  Going  Home  to  Dixie,  40. 
Mac  Will   Win  the  Union  Back, 

42. 
Offish  Saiker,  The,  52. 
Old  Dan  Tucker,  49. 
On  to  Richmond,  48. 
Pat  Rooney's  Ball,  53. 
Striking  He,  43. 
U.  S.  G.,  48. 
When     This    Ould    Poipe     Was 

New,  52. 
Whoa!  Bally!  58. 
Virginia  Minstrels,  origin  of,  9 ;  old 
cut    representing   first   company, 
11. 
"Walk-Arounds,"    list   of,   63. 
Werlein,  P.  P.,  publishes  Dixie,  19 ; 
admits  Emmett's  title  to  author- 
ship, 19. 
Whitlock,  "Billy,"  9,  11. 


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